ROBB HUNTER; FIGHT DIRECTOR


DIRECTOR/CHOREOGRAPHER; Stage Directors and Choreographers Society
CERTIFIED FIGHT DIRECTOR; Society of American Fight Directors
CERTIFIED TEACHER; Society of American Fight Directors
PERFORMER; AEA, SAG/AFTRA


What is a Fight Director?

A Fight Director is a movement specialist trained to choreograph and direct incidents of staged violence. Most have additional training in the martial arts, dance, fencing, stunts, gymnastics, or other specialties that focus on perfecting the physical instrument. Their expertise can prove to be an invaluable asset to any production in which physicality is a vital component.

The best Fight Directors have mastered several diverse specialties and have training and experience in most, if not all, theatrical performance areas including acting, directing, dance, improvisation, voice, and mime, as well as stage combat. Dedication to their craft finds them constantly seeking new opportunities to expand and improve their abilities. Their eye for realism, theatricality and the delicate balance between the two can make even violence a thing of beauty.

My work as a Fight Director is continually informed and enriched by my training and experience as a professional actor (SAG, AFTRA, and AEA). Before choreographing my first show I had nearly a decade of theatrical experience both Off and Off-Off Broadway, at Lincoln Center, in regional theatres, summer stock theatres, and on tour as well as several television shows including Spin City and Whoopi...classical, contemporary, musicals, you name it.

I have likewise had the good fortune to direct violence in a multitude of styles and locations including outdoor Shakespeare in NYC, Italian operas in Brooklyn, large scale musicals in multimillion dollar theatres, and intimate contemporary dramas in the round. But one driving need that is present in every production, no matter what the venue or style, is “to tell the story,” a goal I always keep in sight.


Résumé in Brief

(For complete CV click here)
Training and Education
M.F.A. in Theatre Pedagogy, Virginia Commonwealth University
     Acting/Directing Focus
B.A. in Theatre Performance, Minor in Dance, Radford University
     Stanislavsky Based
Certified Fight Director, Society of American Fight Directors
Certified Teacher, Society of American Fight Directors


Selected Production Experience, Fight Direction

DC Area Productions Theatre Director
Zombie, The American (world premiere) Woolly Mammoth Theatre Co. Howard Shalwitz
The Widow Lincoln (world premiere) Ford’s Theatre Stephen Rayne
As You Like It The Shakespeare Theatre Michael Attenborough
Bad Jews The Studio Theatre Serge Seiden
Belleville The Studio Theatre David Muse
The Tournament Capital Fringe Festival Lex Davis
The Piano Lesson Olney Theatre Center Jamil Jude
Moby Dick (East Coast premiere) Washington National Opera Leonard Foglia
Measure for Measure The Shakespeare Theatre Jonathan Munby
Red Speedo (Helen Hayes nominated; movement) The Studio Theatre Lila Neugebauer
The C.A. of John Blade (co-fight director) Capital Fringe Festival Christopher Niebling
Caesar and Dada (world premiere) Washington Shakespeare Lee Mikeska Gardner
The Winter’s Tale (movement consultant) The Shakespeare Theatre Rebecca Taichman
Motherfucker with the Hat The Studio Theatre Serge Seiden
Invisible Man Huntington Theatre Co Christopher McElroen
Don Giovanni Washington National Opera John Pascoe
Invisible Man The Studio Theatre Christopher McElroen
Ruined Arena Stage Charles Randolph-Wright
The Walworth Farce (Helen Hayes nom; chor) The Studio Theatre Matt Torney
The New Electric Ballroom The Studio Theatre Matt Torney
Superior Donuts The Studio Theatre Serge Seiden
Legends! The Studio Theatree Kirk Jackson
Hamlet Washington National Opera Thaddeus Strassberger
American Buffalo The Studio Theatre Joy Zinoman
Reasons to be Pretty The Studio Theatre David Muse
Bus Stop Olney Theatre Center Austin Pendleton
Stick Fly Arena Stage Kenny Leon
The Alchemist The Shakespeare Theatre Michael Kahn
Hamlet (AFD to David Leong @ CB) The Shakespeare Theatre Alexander Burns
The Heidi Chronicles Arena Stage Tazewell Thompson
Frankie and Johnny in the Clair de Lune Arena Stage David Muse
Noises Off Arena Stage Jonathan Munby
Oklahoma (AFD to David Leong) Arena Stage Molly Smith
View from a Bridge (AFD to David Leong) Arena Stage Daniel Aukin
Death of a Salesman (AFD to David Leong) Arena Stage Timothy Bond
The Heavens are Hung in Black Ford’s Theatre Stephen Rayne
The Millionairess Olney Theatre Center John Going
13 Rue de L’Amour Olney Theatre Center John Going
Oliver! Olney Theatre Center Brad Watkins
Carousel Olney Theatre Center Brad Watkins
In the Heart of America Rep Stage Kasi Campbell
A Little Night Music Centrestage Mark Lamos
Macbeth Baltimore Shakespeare Fest. Tony Tsendeas
Fool for Love Spooky Action Theatre Kasi Campbell
Dark Rapture Spooky Action Theatre Paul Takacs
True West The Bay Theatre Company Lois Evans
Deathtrap The Bay Theatre Company James Phillips
One Flew Over the Cuckoo’s Nest Firebelly Productions Kathi Gollwitzer
To Kill a Mockingbird Firebelly Productions Kathi Gollwitzer
Les Liaisons Dangereuses Actor’s Theatre of Washington Lee Mikeska Gardner
Nothing Sacred Firebelly Productions Robb Hunter
     
New York/Regional Productions
Love Child (New York Premiere) Theatre Harlem James Pringle
Cyrano Chekhov Theatre Ensemble Floyd Rumohr
A Soldier’s Play Black Spectrum Theatre Carl Clay
Otello Regina Opera Linda Lehr
Carmen Regina Opera Linda Lehr
I Pagliacci Regina Opera Linda Lehr
Henry VI, part I Artemis and the Wild Things Linda Lehr
The Winter’s Tale (2002 oobr award winner) The Bard’s Wench Alexandra Ornitz
Hamlet Castle Shakespeare Repertory Stan Barber
Romeo and Juliet Castle Shakespeare Repertory Stan Barber
Macbeth Castle Shakespeare Repertory Stan Barber
Complete Works of William Shakespeare Castle Shakespeare Repertory Stan Barber
Shakespeare Faire (R&J) New Perspectives Theatre Melody Brooks
The Lion, the Witch and the Wardrobe Charlotte Children’s Theatre Alan Poindexter

 


The Word on the Street

 

"The amorous tussle that is “As You Like It” never comes more vigorously to life in the Lansburgh Theatre than when two guys strip off their shirts and go at it on the mat.

It’s the wrestling match at the top of the show of which I speak, executed by Ian Bedford and Andrew Veenstra and staged by fight director Robb Hunter with an electric vim that places in serious doubt how Veenstra, as the play’s romantic hero Orlando, might extricate himself from this well-choreographed entanglement.

Rarely does an “As You Like It” devote this much creative tension to the athletic battle — Never again in Shakespeare Theatre Company’s three-hour production, in fact, does the action of the play feel so completely engaged."

The Washington Post
The Shakespeare Theatre
(“As You Like It” 2014)


 

"Robb Hunter, who choreographed the spectacular wrestling match that opens the play, deserves high commendation for one of the most carefully-wrought fight scenes you will find on the DC stage (or elsewhere, for that matter)."

BroadwayWorld.com
The Shakespeare Theatre
(“As You Like It” 2014)


 

"This brings me to the fight scene, which is the high point of the production’s fantastic technical support. The Metheny stage is a startlingly intimate space, and a tough venue for stage magic, but my God, what fight choreographer Robb Hunter has done...I sat perhaps thirty feet from the stage, and, but for my understanding of the Equity rules, I could not tell whether this was a real fight or not."

DC Theatre Scene
The Studio Theatre
("Superior Donuts" 2010)


"The Walworth Farce was one of my favorite productions in Washington, DC last year, and Robb Hunter’s work as a fight choreographer on it was fantastic."

DC Theatre Scene
(in a Helen Hayes article by Mathew Gardiner)
The Studio Theatre
("The Walworth Farce" 2011)


"Robb Hunter’s stellar fight choreography is intricate and clumsy looking enough to appear deceptively natural and spontaneous."

DC Metro Theatre Arts
The Studio Theatre
("The Motherfucker with the Hat" 2013)


"The verbal and physical interplay among the characters is what propels the action, which incorporates some vividly staged business by fight director Robb Hunter."

Talkin’ Broadway
The Studio Theatre
("The Motherfucker with the Hat" 2013)


"Fight director Robb Hunter choreographed the various expressions of violence with a believable clarity."

MD Theatre guide
The Studio Theatre
("The Motherfucker with the Hat" 2013)


"Their de rigueur catfight (neatly choreographed by Robb Hunter) is spirited and inventive."

The Washington Examiner
The Studio Theatre
("Legends!" 2011)


"One of the most persuasively staged fight scenes in memory."

The Washington Post
The Studio Theatre
("Reasons to be Pretty" 2010)


"And once again Robb Hunter has provided vivid fight choreography."

Talkin’ Broadway
The Studio Theatre
("American Buffalo" 2010)


"...visually stunning battle scenes, using a variety of rather nasty looking weapons of individual destruction..."

Broadway World.com
("Macbeth" 2007, Baltimore Shakespeare Festival)



“The performers execute the numerous pratfalls with alarming authenticity and are always in control...”

Washington Times
(“Noises Off” 2006, Arena Stage)



"The sword fights are brutal and dangerous-looking, especially the final one between Macbeth and MacDuff (Robb Hunter)...
And indeed, there's a delightful surplus of blood in this production...”
Baltimore City Paper

("Macbeth" 2007, Baltimore Shakespeare Festival)



“It is one of a hundred superb decisions on [director] Campbell’s part, including superbly choreographed movement (Robb Hunter does the fight choreography).”

DC Theatre Scene
(“Fool for Love” 2008, Spooky Action Theatre)



“Fight director, Robb Hunter, really made the action scenes quite credible - which was difficult considering how physical the scenes were.”

DC Theatre Scene
(“True West” 2008, Bay Theatre)


“The production under Robb Hunter making his Potomac Region directorial debut is a diverting and entertaining evening of substantial theater blending a light comic touch with undercurrents of tragedy which, after all, is the hallmark of Russian literature.”

Potomac Stages
(“Nothing Sacred” 2007, Firebelly Productions)


“Robb Hunter is making his local debut as a director, but it is certainly not the first time his name has shown up in the programs of local theatergoers. It's just that, until now, the credit has been "Fight Direction" or "Fight Choreography" rather than "Director." As you might expect from someone who has been on the choreographic side of productions before, Hunter brings an eye for use of the stage space to this mounting.”

Connection Newspapers
(“Nothing Sacred” 2007, Firebelly Productions)



"I have to tell you - the fights are amazing...the designers were absolutely rocked back in their seats in shock at the strangling scene. Thanks – it is going to be a great production.”

Tupper Stevens, Stage Manager
(“Deathtrap” 2006, Bay Theatre)


“Robb, when I interviewed you for the job of fight director, I had a feeling you were good. Then…I knew. Every day after that, watching your combat, has been a marvel.”

James Pringle, Artistic Director
(“Love Child” 2003, New York Premiere, Harlem Theatre Company)

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