The gamecock. (Columbia, S.C.) 1908-2006, August 21, 2003, Page B4, Image 16
How the
WEST
will win
COLUMBIA
High-action
choreography
takes the stage at
local theater
BY BRIAN RAY
THE GAMECOCK
When someone says “fight
choreography,” we instantly think
“The Matrix,” the Wochowsky
brothers, Jet
Li, Bruce Lee,
Chuck Norris
and the
pharaoh of
fight choreog
raphy and
stunt ingenu
ity Jackie
Chan. The 21st
century and all of its kung-fu mag
nificence has left us wide-eyed,
hungry and a little spoiled in the
darkness of the theatre. In this day
and age, we want super humans.
And the last thing that comes to
mind when we hear “fight chore
ography” is live theatre, despite
the fact that fight choreography as
most Americans see it was born
in the Chinese opera house. We’re
talking flesh and blood actors you
can smell.
This is what Chris Cook of the
High Voltage theater aims to change.
“I challenge any theater
to deliver the high action
audiences will find here
at High Voltage.”
CHRIS COOK
HIGH VOLTAGE THEATEh
“I challenge any theater to de
liver the high action audiences
will find here at High Voltage,”
Cook said.
In July, he brought live, action
packed theatre to Columbia with
an adaptation of Quentin
Tarantino’s “Reservoir Dogs,” and
ever since, the audiences have con
sistently driven home satisfied. All
seats appeared filled for the open
ing of “Sundance,” a bizarre blend
of counterculture and existential
philosophy, a spaghetti western
full of gun
slinging and
fist-flinging.
Cook has
been staging
fights for al
most 20 years.
He began study
ing in 1985 with
the Society of
American Fight Directors and went
on to work as a professional stage
combatant for many years. Right
now he’s one of three qualified fight
choreographers in Columbia.
But training USC actors to
throw punches and duck at the
right second isn’t as easy as it
might sound.
~“We had to time it to the mu
sic,” said USC theatre student
Patrick Kelly, who plays Billy the
Kid. “And there’s about 15 min
utes fighting total, broken up in
two minutes here and there.”
He and Cook both
said every actor had to
take workshops on basic
combat skills. Training
to perform the choreog
raphy itself took a
month, and Cook spent
hour after hour making
sure everyone knew
how to fight safely.
While Cook’s main
focus is fight choreogra
phy, he hasn’t cut cor
ners on the acting by
any means. Jack Lunan
delivered his lines well
and made a fine, believ
able Jessie James. Cook
was a tall, foreboding
Bill Hickock. The stage
could barely contain
Kelly as he ran from one
end to the other in man
ic bursts of energy dur
ing his entrance.
Charles Whetzel
hardly said a word, but
he had a load of fun
with his psycho-killer
character Sundance.
Hie ctaro \xrac xxrilri Vnc
speech spare, his lips curved into a
near smile.
“I told him the less you do, the
more frightening and creepy
you’ll be,” Cook said.
After the show the cast looked ex
hausted as they lounged outside in
the summer night breeze. Here sat a
subdued bunch of cowboys, ready
to go home and sleep until sun up
the next day. Yet it was a content
sort of tired. Everyone seemed sat
isfied with the inaugural perfor
mance, including the audience.
Isabel Dickey, who plays Sarah
Siddons, said they’ve been re
hearsing for months.
“We’ve even had a few twisted
ankles,” she said. “But you defi
nitely get in shape.”
Then there’s the play itself—
the script specifically — which
Cook and his cast had only so
much say in. Stripped of the air
cushions, fights and props, we’re
confronted with an ugly little con
cept behind a script that’s barely
worth the paper it’s printed ot^
We’re not talking Arthur Mill^p ;
or Tennessee Williams here.
♦ HIGH VOLTAGE, SEE PAGE B7
___._ _ _.^ _ __ imn*
PHOTO SPECIAL TO THE GAMECOCK
Sundance Cast: Patrick Kelly, Charles Whetzel, Christopher Cook, Jack Lunan.
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F fl R E W EL L T 9 U
V k i ,
"Everything a
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Boston Globe
"Cher triumphed" ^
New York Times <
I
_r__"Flawless"
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"Cher delight"
Houston Chronicle
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