Caleb Jackson and Aaron Pennington in Market Theatre’s Kinky Boots (2023). Escobar Photography.
Hey, Aaron! Can you tell us a bit about yourself?
I am a South Carolina native, and I’ve lived here most of my life. I did a little bit of time in a different state, and I came back home. I have a beautiful nine-year-old daughter who I love very much; a beautiful wife, and three wonderful step-children. I met my wife in theatre–she’s very beautiful–her name is Libby, and I love her so much. A little bit about me, just talking about my theatre career, I stumbled upon theatre my junior year of high school, and I’ve kind of never looked back–I’ve been doing it ever since. So yeah, I’ve been doing that for a while. I work at a dental office during the daytime! So yeah, that’s a little bit about me. And I have really enjoyed being a part of this show because I love my Market family very dearly.
When did you begin learning stage combat? Was it in high school when you started doing theatre, or was it later?
Yes, actually my first introduction to stage combat was in high school. I did a production of Romeo and Juliet which had some sword fighting in it. We had a man by the name of Dr. Vincent Mao come and teach us. It was Romeo and Juliet set in futile Japan, so there was a particular sword fighting style we had to learn, and he was very versed in that. I called him a real-life ninja because he was. But yeah, that was my introduction to it, and for some reason, it just made so much sense to me. Just the flow of it and how you do it really connected the dots. A fun little story that not a lot of people know–if they saw that production–is that there’s a fight that goes on in the back between me and a friend of mine named Mason that we actually choreographed because we were told that we could so that was technically the first time I choreographed–was the first time I learned fight choreography.
What is the first full-length show you choreographed?
I think the first full show I choreographed was Oklahoma with Mill Town Players. That one was really fun cause there was a knife fight in there and some hand-to-hand combat.
Kelly T. Images
For readers who may not know, what is a Fight Choreographer? Why are they important?
A fight choreographer is just like when we think of a dance choreographer. They choreograph the dances, show you where to put your limbs, what do to [the] music, and all that. A fight choreographer is no different in that we are there to help continue to tell the story through conflict. So fight choreographers in certain shows (especially, in my opinion, in this show) are very important to have because there’s a different level to the story that gets told through that conflict. Everyone starts a fight with different stakes and walks away with some different stakes at the end of a fight. So, fight choreographers are pivotal in shows that involve fights to convey that. It’s still all a part of the show, part of the storytelling, part of acting, and a fight choreographer is going to show you how to have an onstage conflict very safely but also help the audience to be involved in the story at the same time.
What made you want to become a Fight Choreographer?
Aaron teaching fight choreography during rehearsal to the cast of She Kills Monsters.
Like I said, I have a knack for it, and it's really just something I enjoy doing. I love to approach fights because, unlike directing a show, sometimes–and sometimes with fights, too–when you direct a show, there’s stage directions or you know where things are. Sometimes with fights, there’s more creativity because it may just say in the script “They fight." So, you get to really decide who wins, who loses, “How are we supposed to end this?“, "How do we start?”, “Where does it take us?” That has always appealed to me.
In She Kills Monsters there are a few weird, fantastical stage directions about the fight choreography. For example, the script has a stage direction that says a character slaps another across the stage. Figuring how to do that without the means of actually flying actors across the stage must be a challenge.
That’s a really fun thing about fight choreography is that every space you choreograph in is going to have its own quirks, and I love problem-solving fight choreography. It’s one of my favorite things to do.
It’s been exciting to have you in the room choreographing our stage fights on and off for the past few weeks. What does your process look like when choreographing a fight scene? Does it vary depending on the cast?
I would say yes, sometimes it does vary depending on the cast. If I have a cast that is a little more apt at stage combat, maybe has a little more experience, there might be quicker ways to get from Point A to Point B because they may have some experience with swordplay or hand-to-hand or something like that. They understand the mechanics a little better. That may change my approach. I’m very visual, and I will sit at my house and read a script. When there’s a fight scene, I try to read the scene before the fight starts, what leads us into that, and then where we left off and how we come out of that. That gives my start and my end. Then, I will sit at home and think through things. Sometimes, I will call my friends over and say “I just need you to be a body so I can pretend to punch you and see how it looks.” I usually try to write out my fights as best I can. That being said, I am kind of a hybrid [in] that I try to come prepared with things, and sometimes it’s really fun to find out what happens organically in the space. Sometimes I may have a move choreographed, and I will watch actors do it and say “What would you do naturally next? What feels right?” That really helps me figure out what’s going to happen next but, also for the actors, allows it to be a collaborative experience because, to me, that’s always so much fun and part of the reason why I love doing theatre; it is a collaboration amongst so many artistic people with beautiful talents.
What inspired the fight scenes in She Kills Monsters?
I like to enjoy movies that have a lot of fights in them. I would say for this one, in some places (not every fight), was definitely inspired by the John Wick movies with how quick those fights happen. Also, my love of fights stems from my love of weapons. I used to study different weapons. I’m very inspired by ninjas and samurai. Samurais had an honor system that was very appealing of how hard they would train and how good they could be. Sometimes, there were samurais–they say, from what I’ve read–that they could face an opponent, bow, and as they come up, they could basically disarm and win the battle just by drawing their sword from the scabbard. That really appealed to me, too, and I would say they influence how I approach some fights. I would [also] say Vikings because Vikings are pretty cool, and they are a brunt force fighter. I especially think that with some of the moves we have in this show–there’s some clubs and battle axe weapons–I took my inspiration from Vikings.
Yeah, Orcus is a brutal fighter at points in this show and different from Tilly, who is cleaner with her fighting.
If I had to pick different inspirations for everyone, Agnes is obviously a learner and trying to figure out things. She pulls from everybody. Lilith and Orcus are more of my Vikings – Orcus is more brutish. What’s really cool about Lilith–which a lot of people may not know about Vikings–in the history of Vikings there were shield maidens who were badass, and they fought alongside all the men. That’s what comes to mind with Lilith. With Kaliope, she fights with the quarterstaff, and I pulled from monks. There’s a style of Shaolin Monk fighting that is very meditative and, like Bruce Lee said: “Be like water.” That’s why hers is more of a flowy fight that happens. Then Tilly is a mix of a bunch of different aspects of things. My inspiration for her fighting style was pulled from a lot of different things, and there’s a lot of fluidity in that.
What unique challenges were you expecting to face with this show?
Sightlines, sightlines, sightlines!
Kelly T. Images.
The Market space is unique because it has a thrust stage, so you have to consider the audience from various angles. We also have the columns going through the middle of the stage!
Yes, so that was challenging, but I also loved the idea of incorporating those columns into some of the fights because I always loved watching shows at the Market where they’re used.
From this process, is there anything new you learned about stage combat or weaponry?
When it comes to stage combat, something I learned from this cast is that different levels of experience definitely come into play. I’m a more stout fella, and I move a little quicker than I realize other people can’t do a move exactly how I can. Sometimes, fight choreography is not only saying “Get here,” but also breaking down the mechanics of “I want you to hit here, and as you pivot off this foot, you’re going to block here." I’m definitely taking that from this experience–really remembering to take time with each actor to see what best suits them.
Audiences are going to see quite a few weapons used throughout the show. If you were playing Dungeons & Dragons, what would your choice of weapon be?
Kelly T. Images
Oooooohhh, this is such a good question! I think I would have two swords. I would duel wield. I’ve always loved a Katana, so I think I would have two Katanas. But because this is D&D, I think there would be something really cool about them, like maybe one is “Thunder and Lightning” or, I really like the idea of “Fire and Ice.” I like the idea that they’re hot and cold, literally. Those would be really cool to have!
Audience members have most recently seen you on Market's stage in Kinky Boots and Rock of Ages. How is being on the other side?
I truly love being on both sides of the stage! I will also be directing James and the Giant Peach next season, and I’m very excited about that! Sometimes, when you’re an actor onstage, you don’t get to relish in other’s performances as much because maybe you’re waiting in the wings for your next thing, but that’s the part I really enjoy with being on the other side: watching all my friends do really cool stuff and bring a lot to the table. Especially with this show, I lost a very close family member this past September, and this show really is about grief and dealing with that. Theatre has always been my way to deal with emotions, and being on the other side and having that moment of breathing and taking it easy has been really nice.
As you mentioned, you are behind the scenes again next season as Director for James and the Giant Peach! What are you looking forward to as Director of the show?
I cannot wait to collaborate with some beautiful artists to bring that wonderful show to life! To really have fun and let go, bring a really cool show to the park where people get to come and see it for free and have a good time with their families. I’m very, very excited about that!
