Services

This service works differently from the rest of what we offer, because the room it’s built for works differently. On-set and stage choreography assumes a script, a director’s vision, and time to plan a scene before anyone performs it. Improv and sketch don’t offer any of that — intimate beats emerge in the moment, performer to performer, with no coordinator able to call a pause mid-scene the way we might on a blocked set.

So instead of choreographing a scene for you, we train the room to handle it themselves.

A typical engagement includes:

• Real-time negotiation tools — check-in signals and opt-out cues performers can use to read a scene partner’s comfort and adjust without breaking the scene.
• Pre-show boundary conversations — a structured way for an ensemble to talk through what’s in and out of bounds before they ever improvise together, so “on the fly” starts from a shared baseline, not a guess.
• Post-show debriefs — a habit of checking in after a run, especially useful for recurring shows where the same scene partners return week after week.
• Facilitator training for directors, hosts, or senior ensemble members, so the tools live in the room even when we’re not.

This is primarily a training engagement: we equip your performers with tools they carry into every show, rather than a service where we’re present run after run. For ensembles that want it, we also offer on-site presence during early rehearsals or performances as an add-on, to observe and coach the tools in practice before stepping back.

Because this addresses a genuinely different problem than our other services, we scope it separately from a standard consultation. Get in touch and we’ll talk through what your ensemble actually needs.

This is our core, hands-on service: we’re in the room for the intimacy itself, not just planning it on paper.

For stage productions, that means presence from the first rehearsal of an intimate scene through tech, previews, and into the run — checking in as blocking settles, as the space changes, and as the demands of eight-shows-a-week performance take their toll on the choreography agreed to in the room. For film and TV, it means being on set for every filming day that touches intimate content, from rehearsal on the day through the last take.

What that presence looks like:

• Closed-set or closed-rehearsal protocols — limiting who’s in the room to the people who need to be there, and making sure everyone present understands and respects that.
• Ongoing consent check-ins with each performer, not just at the start of the process — consent for a physically and emotionally demanding scene isn’t a box to check once.
• Authority to pause. If choreography drifts from what was agreed, or a performer needs a moment, we stop and reset before continuing.
• Barriers and modesty garments, coordinated so they do their job without showing on camera or reading to an audience.
• Aftercare — a deliberate close to the work, not just moving on to the next scene or set-up.

This work follows the practices set out in Actors’ Equity Association’s guidance for stage intimacy, and — for screen work — the SAG-AFTRA Standards and Protocols for the Use of Intimacy Coordinators. Same underlying discipline, adapted to the medium.

On-Set Coordination is almost always paired with Choreography Consultation: the planning we do together beforehand is what the day-of work is built on. If your scene is already fully choreographed and you just need coverage for the performance or shoot days themselves, we can also step in on that basis alone.

Before anyone’s in the room together, we build the scene on paper — the same way a fight director stages a fight sequence before it ever meets the stage or the camera.

A typical Choreography Consultation includes:

• Script and scene breakdown — identifying exactly what the text calls for, what it doesn’t, and where it’s ambiguous enough that the production and performers need to agree on an interpretation before rehearsal.
• Movement planning — beat-by-beat staging of the scene: entrances, contact points, positioning, and how the choreography holds up night after night (or take after take).
• Boundary-setting conversations, individually with each performer and then together, so everyone’s expectations match before they’re asked to perform anything.
• Scheduling — for stage work, fitting these sessions into the existing rehearsal process alongside the director and stage manager; for screen work, timing them to land ahead of the relevant shoot days.

The result is a documented choreography that becomes the reference point for the rest of the process — what On-Set Coordination is built around, and what a Nudity Rider (if one’s needed) should match.

This service can be booked on its own — some productions want the scene planned and choreographed in-house without ongoing on-set presence. Most often, though, it’s the first phase of a combined engagement that continues into On-Set Coordination for the performance or shoot days themselves.

A nudity or simulated-sex rider puts in writing, in advance, exactly what a scene will and won’t involve — what’s shown, what’s covered, how the scene is blocked or framed, and what barriers or modesty garments are used. Written down and agreed to before rehearsals begin (ideally before an offer is finalized), it means nobody — performer, director, or production — is finding out what a scene involves for the first time in the room.

We offer this two ways:

• Drafting a rider from scratch, for a production or a performer’s team that doesn’t have one yet.
• Reviewing and negotiating an existing rider, checking that its language actually matches what’s being staged or filmed, and flagging gaps before they become on-the-day surprises.

Either way, the goal is the same: a rider that’s specific enough to be useful — not vague boilerplate — and that both sides have actually read and agreed to, not just signed.

This work draws on established industry practice, including the standards referenced in our On-Set Coordination work, but it isn’t a substitute for a production’s own legal counsel. We recommend any rider be reviewed by an attorney before it’s executed — we’re glad to coordinate directly with legal on request.

Rider review pairs naturally with Choreography Consultation: the choreography we plan together and the rider that documents it should always say the same thing.