Hamlet fights: entry the only
While I’m sad I don’t get to work with Michael again, working on the Hamlet duel with Lars is a whacky kind of fun.
Choreographing for a three-foot copper pipe is a lot like choreographing for an escrima stick; Lars has that down pat after many years in martial arts. Choreographing for a fifteen-foot chain, on the other hand, is only vaguely like choreographing for a hank of nylon rope.
On the bright side, the real weapons are now here, after some chain-related angst. (Links flew. It was my fault. It was bad.)
Mixing the sticks and the chain together is why we spend a lot of time trying out stupid ideas that occasionally turn out to be accidentally badass ideas. My notation system is breaking down in the face of this weird weapon combination; I have given my fight notebook over to chaos, which is appropriate for a post-apocalyptic rendering of a play about various kinds of breakdowns.
Oh! And I have a line now! I’m playing the messenger who gives Hamlet’s letter to Claudius. There’s some acting going on between us, like how I totally want to eavesdrop and he totally wants me to leave. It’s fun.