The Jaded Assassin - The Ohio Theatre

 

The New York Times  - Anita Gates

The first decapitation gets a laugh. So do the cast’s open mouths, frozen as if they were on mannequins painted while speaking about something upsetting. The shadow puppets are hits. But “The Jaded Assassin,” Michael Voyer’s innovative martial-arts fantasy, is all about the battles.  It’s not unusual to go to the theater these days and see a fight choreographer listed in the program. It is strange, however, to see a show that consists of almost nothing but that person’s work.  In the case of “The Jaded Assassin,” the final presentation in the Ice Factory 2006 festival, the fight choreography is by Rod Kinter. And it is entirely appropriate that in the program his name comes right after that of the director …….There is a plot to go with the kicks, jumps, falls and rolls…. But the pleasure of the show is the fighting.

 ….. Take that, “Crouching Tiger, Hidden Dragon”! 

 

NYTHEATRE.com - Michael Criscuolo 

Then, there are the fights, which are dazzling. Rod Kinter's fight choreography includes hand-to-hand combat, swords, staffs, nunchucks, you name it. There's a fun no-holds-barred spirit to his work that carries over to the cast, who face off together with gleeful conviction. 

 

NYTHEATRE.com   - Martin Denton

Voyer's text functions mainly as the frame for the play's numerous fight sequences, which are astonishingly diverse and beautifully executed. 

 

Performing Arts Insider / Lively Arts.com  - Richard Shepard

I have never seen stage choreography as complex prolonged into such extended sequences where any wrong move, any miss in the timing, could injure a performer. There are no glitches in this incredible show. Conceived and brilliantly directed by Timothy Haskell, with tongue-in-cheek script by Michael Voyer and amazing fight choreography by Rod Kinter

 

Uncoolkids.com - Anthony Venditto

…….The staging of the battles was nothing short of artistic genius and truly stretched the boundaries of stage combat to a level I never imagined possible.

 

Last Life – Fight Fest 2009 – Ohio Theatre 2010        

 

THE HAPPIEST MEDIUM  - Karen Tortora-Lee

Each fight in Last Life is approached … meaning it does not happen organically in the middle of a sentence, but rather it is stepped into by the characters who stand facing each other in grim determination before leaping into exciting, balletic and heart-stoppingly choreographed fights.  They slap, tug, pull, drag, trip each other, spin, lunge forward, swing wide, grunt and sweat.  They use fists, legs, ropes and – in one fearsome scene knives – From where I was sitting, these were REAL KNIVES.  Wieled by women.  I was never so proud of my gender, and so pleased with a playwright and a director.  Thanks Eric and Timothy … and thanks fight director Rod Kinter – for putting the shiny sharp objects into the hands of women.  And the rope too, for that matter.knives…………. You’ll never see theatre combat the same again.

 

INDIGEST MAGIZINE - Rachel Cole

Of course, as Last Life is essentially a vehicle for epic displays of stage combat, the fight scenes, directed by Rod Kinter, are truly at the heart of this spectacle. His choreography is elegantly brutal, a dance like cutting open a rib cage and eating the still pulsing heart inside. Set to a techno soundtrack in the tradition of Kill Bill, each fight is filled with humor and story, a crude language that speaks of an elevated attention to the animal-like ferocity inside us all. I am, admittedly, not a fight aficionado, but the precision of performances and the exhaustingly effortless physical commitment from the actors elevated violence out of the messy bruhaha into an art that can stand on its own.

 

NYTHEATRE.com  - Pete Boisvery

Rod Kinter’s brutal though realistic fight choreography shines throughout the evening, and the ensemble executes the combat sequences with technical aplomb.”
 

j.b. spins – J.B.

Last boasts some of strongest, most convincing fight sequences of the festival. Choreographed by Rod Kinter, resident fight director of the New York City Opera and the Pearl Theatre Company, they have a gritty realism distinct from the more outrageous cartoon mayhem of other Fight Fest shows. 

 

Kung Fu Magazine - Douglas Ferguson  

Now to the final and most important Part (this is kungfumagazine.com, after all): the fights. Here is where the play shines. The fight director and choreographer Rod Kinter (long-time in-house fight director for the New York City opera) went against the grain. Instead of using clean crisp choreography as you would expect from a play (with big exaggerated movement so the audience can see what's going on), he made the fights more frenetic and feral, giving each character a unique way of moving and fighting - which ranged from martial arts to street brawling to full-out animalist primal carnage. The best fight (in the author's opinion) was a knife fight between Islin (played by Maggie McDonald, an accomplished stuntwoman of stage/screen/and video games) and Fenrir (Jo-anne Lee, a student at the USA Shaolin Temple and a trained dancer). Both girls moved with dancelike fluidity, yet maintained the frenetic gritty fighting style that fight director Kinter choreographed throughout. 

 

Show Showdown -  Patrick Lee

Last Life, is viscerally exciting and technically impressive (and it's far more convincingly executed than what I'm used to seeing on stage). There's also plenty of it - the show hasn't dubbed itself a "fightsical" for nothing. The rough, decidedly R-rated violent smackdowns are underscored with percussive bursts of music, the way they would be in a film: the edge-of-your-seat stage combat is the main reason for the play and sure to satisfy action-seekers.

 

Duellist’s: The Forgotten Champions - Theatre1010

 

NYTHEATRE.com   - Martin Denton 

  I love Duellists for its ability to make us ponder such serious and important ideas even as it dazzles us with its vigorous and vivid stagecraft. There are about a dozen fight scenes in Duellists, all different and all stunningly exciting.

Standouts among the cast, …..  Rod Kinter, who takes the roles of Athos (one of the Musketeers) and Jacques (one of the duellists in "Duel of the Handkerchief"). Mr. Kinter's every move--from the mere sliding of a bench with his leg to the most high-powered swordplay--is executed with authority and grace; we watch him with the same pleasure that we watch Michael Jordan play basketball or Baryshnikov dance ballet.

…. Have I convinced you yet that Duellists ranks as one of the most exciting, theatrical diversions in New York right now?

 

OOBR - Mark Harborth

Go see this show! Rod Kinter, Ricki G. Ravitts, Jim Robinson and Joseph Travers have put together an amazing evening of live-action theatre. Originally created by Rod Kinter and Joseph Travers, Duellists is billed as "an evening of swashbuckling stage combat," but truly it is much more……Without exception, the stage combat was flawless…..

…. Kudos to Messrs Kitner and Travers for creating a magical evening of superb theatre…..

 

Coming:  A Rock Musical of Biblical Proportions
PHINDIE Independent Coverage of Philadelphia Theatre and Arts - Debra Miller 
All bring strong voices, great moves (choreography by Aurora Black and Rachel Klein, and a stunning slow-motion gay-bashing sequence by fight director Rod Kinter), and dazzling personality to their characters.
 
Point Break Live!

THEATRE IS EASY (theasy.com)   - Amanda LaPergola 

Jo-Anne Lee has the unenviable task of feeding “Keanu” his lines, but she also gets to shine in some kick-ass fight choreography (staged by Rod Kinter). 
 
Galactic Girl in: Attack of the Starbarians -
NY Comic Con (2011) & The Brick Theatre

 

THE MARY SUE    -  Amanda LaPergola          

 A special mention needs to go to fight choreographer Rod Kinter and the athletic cast for the highly engaging fight sequences

 

comiccritique.blog  - Adam McGovern

Fight choeographer Rod Kinter should immediately be hired by the MacMahons to move their franchise into the twenty-somethingth century

 

Richard III - Gallery Players                                                                

 

RG Magazine   – Frederick R. Stal

The uncredited costumes are also effective, as is Rod Kinter's exciting and vivid fight choreography

 
Slave ShacK- The AlgonquinTheatre                                                             NYTHEATRE.com   – Martin Denton

There is also a very notable fight scene, for which Rod Kinter is credited as Fight Director. Kinter serves as Resident Fight Director for Pearl Theatre Company.

The Land Whale Murders – The Shelby Company

THE HAPPIEST MEDIUM -  Karen Tortora-Lee

 He uses fight choreographer Rod Kinter to full advantage throughout; if you’re a fan of Kinter’s brilliantly inventive fights (and I am) you’ll thrill each time the music swells around another great fracas of stage combat. 

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