In the vibrant theater scene of Portland, few have made as significant an impact as Kristen Mun-Van Noy, a professional fight choreographer dedicated to teaching actors the nuances of stage combat.
From meticulously planned sword fights to expertly staged brawls, her expertise is a staple in productions at well-known venues like Portland Center Stage and Third Rail Repertory Theatre.
What many audience members might not realize while watching these thrilling performances is the intricate preparation that goes into every staged fight, a preparation spearheaded by Mun-Van Noy.
Describing her craft, Mun-Van Noy likens stage combat to a sport, emphasizing the need for coordination, trust, and precision between the performers.
“True stage combat that actually looks good relies on an immense trust between two people as they engage in what is, fundamentally, a dangerous endeavor,” she remarked.
Her work cuts across various levels of theatrical experience, as she teaches both high school students at McDaniel High School and seasoned professionals honing their skills for larger productions.
Throughout her career, she has collaborated with notable companies like Oregon Children’s Theatre and Profile Theatre, maximizing the potential of each actor she trains.
Mun-Van Noy points out that fight choreography extends beyond simply executing cool moves; it’s also about conveying a compelling story through physical actions onstage.
“If I am swinging a sword at you, I am not actually aiming to hit you. It’s about creating the illusion of danger while ensuring safety,” she explained, depicting the careful balance between performance and protection.
Safety and communication are cornerstones of her sessions.
“Many actors may start off as strangers, but through repetition and rehearsal, they develop trust, which is crucial for delivering convincing performances,” she added.
Her teaching technique begins with understanding the lay of the land.
“I need to know the details of the set, the costumes, and the time period involved in the play. I even read the entire script to grasp character dynamics and their fighting styles,” she emphasized.
Despite her small rehearsal settings, Mun-Van Noy commands respect in the studio based on her extensive knowledge and authoritative presence.
Although she stands out in a predominantly masculine industry, her affirming attitude proves that effectiveness in stage combat comes from skill, not stature.
“I’m not towering over anyone, but I can certainly teach you how to appear powerful and commanding on stage,” she said.
Once she’s familiar with the production, Mun-Van Noy carefully workshops the choreography, blending dialogue and movement to characterize each interaction authentically.
Through repetitive practice under her guidance, the cast members learn safe and effective ways to engage in fight scenes.
She maintains that fight choreography is a narrative device, aiming to tell a story while giving audiences a thrilling experience.
Adapting her teaching style to each group is crucial; professional actors may catch on quickly, while high school students often require more detailed instruction and simpler movements.
For a recent production of “The Three Musketeers,” Mun-Van Noy dedicated time to instructing high school students to wield prop weapons confidently.
“Ultimately, if the actors feel good about their performance, they will embody their characters more effectively,” she noted, emphasizing the significance of their comfort and confidence on stage.
Her journey into the realm of fight choreography wasn’t straightforward.
Growing up in Hawaii, Mun-Van Noy never envisioned herself as a stunt coordinator until she took a class at the University of Hawaii, encouraged by her drama teacher.
Although she enjoyed the experience, it took her some time to realize her passion for stage combat.
With increased exposure to combat training, Mun-Van Noy found herself drawn to the confidence that came from mastering the use of prop weapons and executing choreographed fights.
“I relished the thrill of receiving action on stage; controlling how violence is portrayed gives me a unique power in storytelling,” she expressed.
During her years at Southern Oregon University in Ashland, Mun-Van Noy honed her skills under the mentorship of Chris DuVal, her first fight instructor, and later Jonathan Toppo at the Oregon Shakespeare Festival.
Upon graduating with a BFA in stage management in 2009, she initiated her career with various theater companies in Oregon.
“Both Chris and Jonathan inspired me by trusting my instincts and valuing my contributions to the process,” she noted, highlighting their impact on her development.
Years devoted to perfecting her craft culminated in certifications from Dueling Arts International, a leading organization in stage combat training, solidifying her qualifications as a choreographer.
While she has an extensive background in different institutions, including Idaho Repertory Theatre and the Denver Center for the Performing Arts, her heart lies in nurturing Portland’s theater community.
Beyond the art of violence on stage, Mun-Van Noy sees fight choreography as a pathway for self-empowerment, especially for women and underrepresented communities.
“I have the ability to depict strength and power through my character during fights; that’s a unique form of empowerment,” she stated.
In her commitment to fostering the next generation of stage combat professionals, Mun-Van Noy trains a select group of apprentices who meet regularly to learn techniques and skills essential for safe performance.
“We are participants in something serious; learning together strengthens our bonds while developing our skills,” she said of her collaborative approach.
Among her apprentices is Maddie Tran, who expressed excitement at becoming a part of Mun-Van Noy’s training program.
“Kristen choreographed a show I participated in during college, and when she invited me to apprentice in 2020, I was thrilled,” Tran recounts.
Actor Matthew Sepeda, another apprentice, highlighted the impact of training on his physical expression and control during performances.
“Learning fight choreography helped me center my energy and gain control over my movements, which was incredibly beneficial,” he mentioned.
Meanwhile, for Jacquelle Davis, branching into fight coordination offers her stability alongside her acting career.
“While I will always pursue acting, being a stunt coordinator is just another way for me to stay engaged in the theater,” she noted.
Lastly, working alongside her husband, Adam Mun-Van Noy, adds a personal dimension to her professional endeavors.
“When Adam first began training with me, our dynamic was teacher-student; now, as partners in life and work, we collaborate seamlessly as co-choreographers,” she said, reflecting on their journey together.
In a memorable twist, their shared passion for fight choreography even shaped their wedding ceremony, where they opted for a staged fight instead of a traditional first dance.
“Yes, it’s true! I genuinely wanted our first dance to be a choreographed fight,” Adam confirmed with a laugh.
For Kristen Mun-Van Noy, stage combat transcends mere entertainment; it represents a deeper sense of confidence and empowerment for all individuals, regardless of how they identify.
“Stage combat is for everyone; it doesn’t just belong to those who fit a specific mold. If you’re interested, I want to encourage you: it’s your domain, too,” she declared passionately.
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