Scot J. Mann awarded Dean Goodman Choice Award

ASCS Fight Director Scot J. Mann has received a Dean Goodman Choice Award for Fight Direction for his work on the 2002 Shakespeare Santa Cruz production of Coriolanus, directed by Kent Gash. The Choice Award, formerly given through Drama Logue, is a San Francisco Bay Area award to theatre artists personally selected by Dean Goodman. Scot will return to Santa Cruz this summer to direct fights and coach movement for Hamlet, Comedy of Errors and Private Lives.

SPOTLIGHT ON SUMMER TRAINING 2000

Getting a Handle on Stage and Screen Combat This Summer

You don't have to be cast in a theatre production of "The Three Musketeers" or on an episode of "Hercules" to be prompted to learn the art of stage and screen combat. There are solid programs being offered this summer that will teach you the basics, help you master specific disciplines, and improve your stamina and coordination. Even if you don't plan to swashbuckle or swordfight anytime soon, you can learn a new skill and get a good workout in the process. The following intensive programs, seminars, and special events are just a few of the summer sessions that interested parties can participate in-feel free to contact them through the information listed below. {...}

Fights-but no Disappointments

Scot J. Mann, executive director of Atlanta Stage Combat Studio, reports that while his group does not offer a summer intensive, he advises anyone interested in stage combat to attend the National Stage Combat Workshop July 10-28, sponsored by the Society of American Fight Directors. "Each July this three-week workshop meets at UNLV in Las Vegas. This workshop was the springboard for my career as a professional fight director, and repeated visits year after year have given me a marketable, malleable skill as an actor. Since attendees come from all over the U.S. and Europe there are many valuable contacts to be made as well. Having some of the nation's top theatrical combat choreographers from around the nation all in one place, teaching six days a week for three weeks, and having so much individual attention is a situation I have not seen duplicated in the U.S. or England in my ten years of being in this business.

"These days I often hire actors for fight roles in theatre and for live action events. I have never been disappointed when hiring someone who has learned their skills with the SAFD at the National Workshop and has continued to keep them current. There are many terrific workshops all over the U.S., but I feel this is the best place to build real skills in a relatively short time that will be carried throughout a career in the theatre."

SAFD National Stage Combat Workshop, c/o UNLV, 4505 Maryland Pkwy.
Las Vegas, NV - phone (702) 895-3662; website www.safd.org .
Atlanta Stage Combat Studio, 2459-D Meadow Ridge Lane, Montgomery, AL
phone (334) 244-0604; E-mail scotmann@stagecombat.com .

By Elias Stimac Backstage East (New York), February 11, 2000

Response to the Mainstage production of Macbeth produced by Mercer University in Macon, GA. Paul Oppy, Director.

One highlight of the show was the masterful and highly charged combat scene at the play's end which was choreographed by actor Scot Mann. Somehow, Mann created the look of dozens of soldiers in combat when in reality there were but a few."

Paige Henson, Macon Telegraph, May 14th, 1992

Critical acclaim for ASCS Director Scot J. Mann's fight direction for The Seaside Music Theatre's 1997 production of Romeo and Juliet". Lester Malizia, director.

"One outstanding feature of this version of this classic play, was Scot J. Mann's fight directions. The sword play by Mercutio, Romeo, Paris and Tybalt was about as realistic as I've ever seen on stage."

Dick Kerekes, First Coast Entertainer, November 29, 1997

". . . the production has a nice sense of physicality and action, courtesy of the fancy swordplay that takes place during the feuds between the warring Capulets and Montagues. Fight Director Scot J. Mann has created some exciting sword-fighting sequences, including a nicely humorous one between Mercutio and Tybalt, in which the prancing Mercutio teases the more solid Tybalt."

Mike McLane, Daytona News-Journal, November 16, 1997

Professional Testimonial in regards to Zorro, the Musical.

Directed by Frank M. Young for Theatre Under the Stars, Houston, TX. August 1998. Carol was a feature performer.

I had the great good fortune to work with Scot Mann in the world premiere production of ZORRO, THE MUSICAL, in Houston, Texas, in 1998. He had to teach me how to crack a whip. I am no stunt woman, no spring chicken and not particularly adept at stage-fighting technique. This, however, would not have been apparent to the audience members seeing this show. Scot was incredibly patient with me, and always very protective. He and his assistants were very careful to see that I wore protective eye gear while learning the few different "cracks" I might have to perform. His instruction was clear and accurate. I was able to achieve a 75% success rate by the time we opened, but his attention did not cease then. He was continually supportive and encouraging during the run of the show, and monitored my performance, giving me hints and guidelines, so that when we finished the run, I was cracking the whip EVERYTIME. Very exciting and gratifying for this neophyte! There was a required "fight call" prior to the first show everyday, and we went through all of the potentially hazardous routines. His attention to safety was greatly appreciated, and just one more sign of Mr. Mann's professionalism. I am very grateful for the experience of working with him and hope that I am in his company of players again.
Sincerely,

Carol Swarbrick
Actress and Western Regional Vice-President Actors' Equity Association
February 23, 1999