MARC ANTONIO PRITCHETT

In the dramatic arts, as in life, fights and moments of intimacy typically take place during moments where passions are at their peak. It stands to reason then, that the execution of a such a scene (or lack thereof) can drastically shape the way the entire narrative is experienced by the audience.

As a director and actor, I understand that for these moments to be truly effective, they must grow out of the dramatic action and function as physicalized extensions of the dialogue. Choreographing these moments is much like designing a magic trick. The stagecraft must be technically sound and easily repeatable while remaining completely invisible to the audience, so that the illusion is never broken. In addition, the participants need to understand where the ‘danger zones’ are so that they can perform with intensity without fearing for their scene partner’s well-being.

This was never more true than when I staged the opening scene for Jake Heggie’s opera Dead Man Walking at Opera Pacific.

Starting with only a set design and a piece of music (no dialogue), I was tasked with staging a scene that would begin with a young couple playfully skinny dipping in a lake only to devolve into a savage double murder rape scene. It needed to play out in perfect counterpoint to the music without ‘Mickey Mouse-ing’, and most importantly, it needed to be among the most gut wrenching scenes ever staged.

In this production, my theatrical, musical, intimacy and combat expertise all came into play in equal measure. I collaborated with a colleague to design and manufacture a special firearm that allowed absolute creative freedom in the fight scenes without impacting safety. With clever use of back lighting and shadows we made an absolutely gorgeous stage picture while simultaneously protecting the modesty of the lovers. The angle of the vehicle and other set pieces were tweaked for similar reasons. With the ‘theatrical magic trick’ set up, the actors were free to act their hearts out, knowing that they were physically safe and that no boundaries would be crossed.

The result was a scene praised in every review and one that was recorded and copied in every subsequent performance throughout the world. It’s worth noting that I had been doing this kind of work for decades before the term “Intimacy Coordinator” had even become mainstream. Few others can say the same.

Simply put, my leadership, vast experience and unique combination of talents make me the perfect choice for your creative team.