A few of my current and recent fight directing projects are plays that I've done previously in other venues (or, in the case of Dogg's Hamlet, Cahoot's Macbeth, contain pieces of plays I've done in other contexts). In the case of Romeo & Juliet, I've done that play so many times I can pretty much recite the dialogue around the fight scenes as well as all the commentary about how the characters might fight that takes place in other scenes.
A question I've been getting a lot is whether I just recycle choreography when I repeat plays.
That would be a resounding No.
The actors are different, the space is different, and most importantly, the director's vision is never the same. Then there are also the logistical factors. How much time are they planning to spend composing and rehearsing the fights? A production with a three month rehearsal period, plenty of time to train, and a commitment to rehearse diligently will have different ambitions for a fight scene than a company with less time and money for the same play. A production set in the Italian Renaissance will very likely have Mercutio and Tybalt face off with rapier and dagger, where the post-apocalyptic version may go with chainsaws (I am waiting for that version to happen).
Context shapes the presentation of text. This is something you learn in any branch of theatre. As a writer, if you're fortunate enough to see multiple productions/workshops/readings of the same play, you get a feel for what has fluidity and what has consistency.
By way of example, here are three videos of the same monologue. Two are performed by my friend and collaborator Zillah Glory, the third was performed at Brooklyn College as part of the Gi60 short play festival a little over a year ago: