Director/Choreographer Stage Directors and Choreographers Society
Certified Fight Director Society of American Fight Directors (SAFD)
Certified Teacher SAFD
Certified Theatrical Firearms Instructor SAFD
Performer AEA, SAG/AFTRA
Director/Choreographer Stage Directors and Choreographers Society
Résumé in Brief
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
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 multi-million 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.
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."
“As You Like It” 2014, The Shakespeare Theatre,The Washington Post
"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)."
“As You Like It” 2014, The Shakespeare Theatre,BroadwayWorld.com
"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."
“Superior Donuts” 2010, The Studio Theatre,DC Theatre Scene
"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."
“The Walworth Farce” 2011, The Studio Theatre,DC Theatre Scene (in a Helen Hayes article by Mathew Gardiner)
"Robb Hunter’s stellar fight choreography is intricate and clumsy looking enough to appear deceptively natural and spontaneous."
“The Motherfucker with the Hat” 2013, The Studio Theatre,DC Metro Theater Arts
"The verbal and physical interplay among the characters is what propels the action, which incorporates some vividly staged business by fight director Robb Hunter."
“The Motherfucker with the Hat” 2013, The Studio Theatre,Talkin’ Broadway
"Fight director Robb Hunter choreographed the various expressions of violence with a believable clarity."
“The Motherfucker with the Hat” 2013, The Studio Theatre,MD Theatre Guide
"Their de rigueur catfight (neatly choreographed by Robb Hunter) is spirited and inventive."
“Legends!” 2011, The Studio Theatre,The Washington Examiner
"One of the most persuasively staged fight scenes in memory."
“Reasons to be Pretty” 2010, The Studio Theatre,The Washington Post
"And once again Robb Hunter has provided vivid fight choreography."
“American Buffalo” 2010, The Studio Theatre,Talkin’ Broadway
"...visually stunning battle scenes, using a variety of rather nasty looking weapons of individual destruction..."
“Macbeth” 2007, Baltimore Shakespeare Festival,BroadwayWorld.com
“The performers execute the numerous pratfalls with alarming authenticity and are always in control...”
“Noises Off” 2006, Arena Stage,Washington Times
"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...”
“Macbeth” 2007, Baltimore Shakespeare Festival,Baltimore City Paper
“It is one of a hundred superb decisions on [director] Campbell’s part, including superbly choreographed movement (Robb Hunter does the fight choreography).”
“Fool for Love” 2008, Spooky Action Theatre,DC Theatre Scene
“Fight director, Robb Hunter, really made the action scenes quite credible - which was difficult considering how physical the scenes were.”
“True West” 2008, Bay Theatre,DC Theatre Scene
“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.”
“Nothing Sacred” 2007, Firebelly Productions,Potomac Stages
“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.”
“Nothing Sacred” 2007, Firebelly Productions,Connection Newspapers
"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.”
“Deathtrap” 2006, Bay Theatre,Tupper Stevens, Stage Manager
“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.”
“Love Child” 2003, New York Premiere, Harlem Theatre Company,James Pringle, Artistic Director
Select Production Experience, Fight Direction
DC Area Productions
|Gloria||Woolly Mammoth Theatre Co.||Kip Fagan|
|Botticelli in the Fire||Woolly Mammoth Theatre Co.||Marti Lyons|
(Helen Hayes Award: choreography)
|Woolly Mammoth Theatre Co.||Shana Cooper|
|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|
(Helen Hayes nomination: choreography)
|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 nomination: choreography)
|The Studio Theatre||Matt Torney|
|The New Electric Ballroom||The Studio Theatre||Matt Torney|
|Superior Donuts||The Studio Theatre||Serge Seiden|
|Legends!||The Studio Theatre||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|