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Oregon Shakespeare Festival
Between Two Knees

Theatre Eddy's - Eddie Reynolds

She even convinces Isaiah to join her in a rebellion, leading to a wonderfully funny, slow-motion jiu-jitsufight scene between them and a horde of Ninja Nuns.  To break free, Isaiah – still wearing the tiny moccasins – has next to fight one-on-one the head priest (Rachel Crowl), wrestling-ring-style with Jesus as a referee (Justin Gauthier).  He then has to battle a viciously monstrous Mother Superior (James Ryen) with Fight Director Rod Kinter pulling out all stops in each of these over-the-top, loopy scenes.

Mail Tribune - Maureen Flannagan Battistella

Together they battle demonic Catholic priests, cowled nunjas and a mother superior from hell in what must have been one of OSF fight director Rod Kinter’s weirdest and most wonderful scenes.

Eugene Weekly - Alexis Reed

A Mortal Combat spoof complete with Nunjas should lighten things up. Strobe lights, slow-motion high kicks — it’s the most cinematic fight scene I’ve ever witnessed on the live stage (featuring light direction by Elizabeth Harper and fight direction by Rod Kinter).

Utah Shakespeare Festival
As you like it

The Salt Lake Tribune – Ellen Fagg

The early climactic plot turn of a wrestling match is staged as an impressively virile scene (by fight director Rod Kinter)


Deseret News - Erica Hansen

Bravo to Rod Kinter's fight choreography that has Orlando and the court wrestler (Erik Mathew) in a very convincing shirtless wrestling match. 


Private Lives

The Salt Lake Tribune – Ellen Fagg

Utah Shakespearean Festival's "Private Lives" boasts precision timing, rapid-fire dialogue and brilliant marital fight choreography.


Julius Caesar

The Salt Lake Tribune – Ellen Fagg

Also Thrilling: Rod Kinter’s murder scene choreography, which is well paced, confidently acted and successfully and effectively bloody. These conspirators wield their daggers very well.


Deseret News - Erica Hansen

…and the stabbings begin (very well-choreographed by Rod Kinter), I found myself grimacing each time a splash of red appeared on Caesar's stark-white suit and when the men each dip their arms in his blood.


Moonlight and Magnolias

The Spectrum & Daily News and St. George Magazine –  Brian Passey

There is also plenty of physical comedy – much of it surrounding bananas – and a fight scene so well-choreographed that it rivals the more serious ones found in USF’s productions of Shakespeare’s histories and tragedies.


Deseret News - Erica Hansen

Also, bravo to fight director Rod Kinter and the three men for pulling off a very funny bit, which I won't explain here so as not to ruinit.


American Repertory Theatre
Romeo and Juliet

The Phoenix-Carolyn Clay 

………..Also contributing to the aggressive tenor of the production are Rod Kinter’s nasty, grunting knife fights


The Harvard Crimson - Elisabeth J Bloomberg

Another of the better departures from the original script is having the characters fight with knives and fists. Choreographed by Rod Kinter, this change gives the fight scenes a kinetic brutality that sword fights lack. 


Shakespeare On the Sound
Macbeth - Bonnie Goldberg

The fight scenes choreographed by Rod Kinter are smashing...

Princeton Rep Shakespeare Festival
Romeo and Juliet

Town Topics - Donald Gilpin

The dazzling fighting and swordplay, choreographed by Rod Kinter and featuring Mr. Charles, Mr. Bridges, Mr. Vaughan, Mr. Giacalone, and others, is vigorous, convincing, and exciting to watch


The Princeton Packet - Matt Smith

The Original Fight Choreography by Rod Kinter is sharp


US1 Newspaper - Joan Crespi

That the Capulet and Montague servants are at war is quickly established by their quarreling servants; here and throughout the play the fight scenes are vigorously choreographed by Rod Kinter.


Barter Theatre
The Three Musketeers

The Bristol Herald-Courier - Robert McKinney 

Frankly, I have never seen such a virtuoso display of swordsmanship as in the Barter’s newest production, “The Three Musketeers.” It is a work of masterful choreography and absolute physical exuberance that gives us live and onstage what film can only accomplish by the use of computer animation.

Prince and the Pauper

The Kingsport Times - John Newland 

Equally wonderful is a certain swashbuckling episode that contains some of the best choreography ever seen on stage…If the audience was emotionally moved by the power of the dramatic offerings they were wowed by the swashbuckling sequence


The Bristol Herald-Courier - Chris Ciscione 

Kinter stages a rousing sword duel in the final scene

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