There is a certain irony to the fact that theatrical fencing has single-handedly imprinted not only the lay public's perception of sword fighting, but even manipulated respected practicians and experts into translating the demands of the stage into the gospel truth of fight. Yet theatric fencing is one of the most neglected sectors of fencing literature.

Since 1980, William Hobbs' Stage Combat (New York: St. Martin's) -- fittingly introduced by a foreword from Laurence Olivier -- deservedly had been a primary reference for fight directors. (After all, this is the guy who choreographed the fight scenes of The Duelists!) J.D. Martinez new book The Swords of Shakespeare is about to provide serious competition for the master, at least as far as Shakespearean drama is concerned.

Martinez kicks off his volume with remarks on fight choreography, safety and training, and a brief history of Elizabethan swordplay. The latter is particularly refreshing because he manages to be brief and to the point while actually presenting a vivid and accurate picture of the different systems practiced at that time.

Virtually all of Shakespeare's dramas in which a blade is drawn are presented in drawings and directions. Martinez did his homework. Even the cursory reader will recognize actions depicted from contemporary manuals. Martinez also left little room to argue the choice of weapons for each scene -- which according to the period depicted and the social status of the fighters could vary considerably.

I was impressed. McFarland did a very nice job on the production side. This book is not only an excellent resource for stage fight directors, but for anyone interested in Elizabethan swordplay.