New York City Opera
Porgy and Bess
The New York Post - Shirley Fleming
The Production is grippingly physical, the two killings onstage occur with the kind of stomach-punching violence more typical of - Hollywood……….
The New York Times - Bernard Holland
………Ensembles become elaborate dance numbers, they look fine - as do the vivid fight scenes
Theatre-Scene.net - Bruce-Michael Gelbert
Fatal fight scenes, between Crown and Robbins and then Crown and Porgy, devised by Rod Kinter; brushes with the brutal, Caucasian pillars of the law; and Bess' return to drugs, after she'd been clean, are painfully realistic here.
Il Donna de Lago
The Wall Street Journal - Heidi Waleson
…. one bright moment was the trio in which Rodrigo and Uberto fight (with swords) and Elena tries to stop them. Fight director Rod Kinter actually got some action going onstage, the singers began relating to each other, and the music had some zip. This was exciting.
Dead Man Walking
The New York Observer - Charles Michener
The opening is stunning. After an eerily woven overture, the crime is enacted in a lakeside lovers’ lane in Louisiana. As the teenage lovers make out-both nude, with the sort of perfectly toned bodies that are de rigueur onstage these days-cryptic bursts of percussion announce the two killers’ entry from the shadows. Orchestral pandemonium ensues as one brother rapes the girl and the other shoots the boy. The girl screams; the rapist silences her with a knife. The next thing we hear is the sweet voice of Sister Helen…..
Cavallieria Rusticana and Pagliacci
Superconductor - Paul Pelkonen
….The two did not shy from the physical aspects of playing the feuding ex-lovers--their chemistry and kinetic fight choreography enhanced Mascagni's music and practically leapt off the stage.
Manhatten School of Music
The Ghosts of Versailles
Voce di meche - Meche Kroop
Some special moments stood out: ……. an amusing duel (choreographed by Rod Kinter) between ghosts who realize they can't die
New Jersey State Opera
The Star Ledger - Willa J Conrad
The Final Fight scene choreographed by Rod Kinter, looked rather convincing, and that was no small accomplishment.