We were all given a red-wrapped chocolate heart on entering the auditorium - a little sign of what is to come at the end of the play, in a scene that - until now - I had only read and could not imagine being staged. ... It is worth a visit to see good acting ... and, quite literally, witness the complicated machinations of the heart.

~ Anita Butler from The British Theatre Guide (2009)

The night revels in multiple murders, betrayals, gory dealings in general.

~ Saul Reichlin from Remote Goat (2009)

Ronin Traynor's fight choreography was excellent, and on the whole well executed.

~ Deborah Klayman from Remote Goat (2009)

The production ... at the historic early Renaissance Palazzo Davanzati in central Florence, was a resounding success. Fullhouse audiences composed of native Florentines as well as English, American, and other visitors enjoyed the first fully professional staging of the play in over seventy years... To sum up, then, the production was an especially gratifying collaboration, that made life and art one and the same: we hope that Oscar Wilde himself would have appreciated and applauded the exceptional event.

~ Eric Nicholson / SUF Drama Professor from Villa Rossa Voice (2009)

Ronin Traynor worked with me as Fight Director on my outdoor production of A Midsummer Night's Dream. He was safety conscious and his clever blocking made sure that wherever I sat (the performance was in the round) the movements looked believably real.

He looked at the motivations behind the actions with the actors and (as Movement Director) he suggested some visually interesting bits of business. He was flexible to always fit in with my vision, and with the actors' struggles, taking the time to have one-on-one sessions with each performer to look at how to display emotions etc through physicality.

~ Hugh Allison from The Yellowchair Performance Experience (2009)

Thanks for making this such a fun production. The fight scenes are just right - the audience loves them.

~ Linda Large as Puck, Egeus from T.Y.P.E. (2009)

Aladdin "includes a marvellous fight between the Grand Vizier (Matthew Neal) and the monkey (Hambi Pappas) that has to be seen to be believed."

~ Francis Batt from The Express (2007)

Ronin Traynor has acted as fight director on two productions I have directed or co-directed, Cinderella and Aladdin at West Wing, Slough. Ronin is thorough and reliable and ensures that safety is paramount at all times. He is inventive and playful in his fight choreography and is able to offer additional support to those individuals who find fight sequences challenging.

~ Lucy Bradley / Co-Director from West Wing Arts Centre (2007)

Ronin served as my assistant on the Junior Grade Award Workshop during the BNSCWs in 2005 and 2006... Ronin was extremely supportive of me, throughout both workshops, for which I am very grateful. He also had an excellent rapport with the students, providing encouragement, guidance and support when partnering in class and for the FPT, helping to direct FPT scenes and, on one occasion, building confidence in a case of near-terminal stage fright.

~ Janet Lawson / B.A.S.S.C. Teacher (2006)

Ronin served as my assistant on the Junior Grade Award Workshop during the BNSCWs in 2005 and 2006... Ronin was extremely supportive of me, throughout both workshops, for which I am very grateful. He also had an excellent rapport with the students, providing encouragement, guidance and support when partnering in class and for the FPT, helping to direct FPT scenes and, on one occasion, building confidence in a case of near-terminal stage fright.

~ Janet Lawson / B.A.S.S.C. Teacher (2006)

I specially noted the fight sequence during Eye of the Tiger as being particularly noteworthy .... and the scene when the underdog turned hero was classic!!

~ Barrie Theobald from NODA (2008)

As Beowulf tell three young warriors to kiss their women goodbye and put on their (fur-lined) cloaks, the three men in question are wrapping their knuckles with leather. Then the four of them enter the sea serpents’ den where they are faced with a threat far more dangerous than punches: three stunning women (sea serpents) dressed in little more than glittery tights. The nubile nymphs snap huge black fans open and the fight begins. It’s a mass of legs and elastic limbs threatening to break spines thanks to some vigorous dance and acrobatic backgrounds. I now know how Odysseus must have felt faced with all those hottie-mermaids offering him a delicious death.

~ Tessa Ditner from London Alternative Fringe Festival (2010)

Thanks for all your hard work, Ronin, we had tons of good feedback about the fights - particularly from a martial arts expert (married to an opera singer) who came on the last night and loved the use of the fans and the leather hand wraps!

~ Buffy Sharp / Director from Eclectic Opera (2010)

The Black Comedy is somewhat challenging when it comes to the physicalisation of the characters escapades and mis-haps in the ‘dark’ and when the comedy aspect of the play is dependent on the tom-foolery and calamity, the pressure on the choreographer and the ability of the lead actor is extremely high. With Ronin Traynor cast as Brindsley (the lead character) and also the Fight Director I was presented with the perfect combination to achieve the desired goals. With his wealth of experience as a Fight Director, acting talent and high quality physical ability, we were able to have a stunning array of trips and falls creating a fantastic overflow of comedy flare throughout the show. An absolute gem for any production!”

~ Danielle Scott / Director from Forte Theatre (2007)

Ronin has worked at Bodens Studios as a fight coordinator on several productions, including ‘Jesus Christ Superstar’ and ‘Little Women’. His input, training and fight choreography has been invaluable to these. He has also worked as a guest tutor teaching stage combat to students aged seven to nineteen years. Ronin has always built up a great rapport with the students in a short space of time. They have enjoyed the lessons and learnt an incredible amount within the class timeframe. We would always approach Ronin first for any of our future productions.

~ Adam Boden from Boden Studios (2011)

This Language Laid Bare production pulls no punches thanks to fight director Ronin Traynor and the best theatrical slaps, pokes and prods I have ever seen.

~ Philip Herbert from Remote Goat (2008)

Fight director Ronin Traynor and choreographer Lisette Foster contribute neat sequences appropriate for the abilities of the cast, stage capacity, and style of the production.

~ Tara Paulsson from Fringe Report (2008)

Applause for the climactic fight scene complete with strobe slow effects

~ Lindsey / Editor from Londonist (2009)

Ronin Traynor has acted as fight director on two productions I have directed or co-directed, Cinderella and Aladdin at West Wing, Slough. Ronin is thorough and reliable and ensures that safety is paramount at all times. He is inventive and playful in his fight choreography and is able to offer additional support to those individuals who find fight sequences challenging.

~ Lucy Bradley / Co-Director from West Wing Arts Centre (2007)

Brilliantly choreographed fight sequence

~ Imogen Lillywhite from The Observer (2006)

Thank you for all your hard work and professionalism on Saturday - you made the day run so very smoothly...everyone loved the workshop!

~ Andy Wilkinson from Wilkinson Productions (2011)

Ronin's quite a knowledgeable, meticulous and enthusiastic fight choreographer. His performance during the fight scenes were quite thrilling to watch. I believe his involvement as a fighter in my project served as one of the many sources of motivation for the casts during the fight scenes. I am very pleased to have worked with him.

~ Ogodinife Okpue - Director from Adverto Films (2009)

wonderful to see the standard of swordplay is better than ever.

~ Roy Goodall from BAF (2009)

Those of us who were fortunate enough to see the Diamond Swords show at Warwick Castle witnessed a truly professional spectacular.

~ BAF News Issue 53 (2009)

BAFTA's 2010 Video Game Award winner - Best Strategy Game

~ BAFTA from Video Game Awards (2010)

Melee combat is fantastic. When engaged in close combat soldiers have a lot of new combat animation. They dodge, thrust, stab and choke one another as they desperately fight for their lives. I noticed that nearly all soldiers engage in personal tussles with the enemy so not all animation is death blows like in previous titles.

~ Graham Clifford from Boomtown.net (2009)

Total War games have always looked pretty, but never like this. Seeing individual crew members of a ship clambering across the ropes at sunset, or a cloud of smoke gently envelop your infantry as they let loose a volley of musket fire is hypnotising. And if they weren't encouragement to zoom in and view your battles at ground level, you'll love the fact individual combatants now really appear to be fighting 1v1, instead of just flailing around.

~ Luke Plunkett from Kotaku (2009)

After playing for a few months, it still amazes me watching the tiny little regiments engage in combat. If you ever get the chance, zoom in real close to the combat and watch your units duke it out hand to hand. You’ll notice your units and enemies actually fight with one another. Also, while watching the sea battles, you’ll notice your sailors trying to take over enemy vessels when order to do so. I love watching them throw lines from one ship to the other, pummel the enemy with rifles, stand toe to toe with swashbuckling pirates.

~ Curtis Takaichi from Gamer Limit (2009)

The advent of gunpowder also adds a new dimension to the battles, allowing players to use ranged combat and fire cannons to break enemy ranks, but with plenty of the visceral hand-to-hand scuffles that helped make the Total War series an evergreen favourite.

~ David McComb from Empire (2009)

The hand to hand combat is also a beauty to watch. You could swear you are watching a real battle from above, as they attempt to bayonet or beat their opponent to death.

~ Reviewstream.com from Reviewstream.com (2009)

Again, it's all in the details, as you zoom in and see each troop participating in frenetic ranged and hand-to-hand combat. Empathy is a sign of a truly immersive game, and The Creative Assembly have nailed it. You can't help but feel sorry for the poor souls they modelled these collections of pixels on.

~ Dan Cheer from Game Planet (2009)

Watching the little men duke it out is a lot of fun to watch with their wonderful animations. Long gone are the days of watching your medieval soldiers swing their sword only to have it hit enemy shields a million times, now its all about bayonet stabbing and dodges.

~ Vervous from Gameplay Monthly (2009)

I especially like the melee animations, all individually recorded by professional stuntmen. Men stab and hack at each other, pushing each other on the ground and kicking downed men in the face. It is even possible for knocked down soldiers to parry bayonet stabs or roll out of the way and get back up again.

~ LonePlacebo (2009)

The fighting is beautifully fluid.

~ Keith Stuart from Game (2009)

To say that Empire Total War looks good is an understatement, being able to watch each man fight and act independently is amazing, you'll find yourself just zooming right into the thick of things just to watch their desperate struggle to win.

~ Odion from ZT Game Domain (2009)

I love the level of animation in the game; it’s deep and cinematic quality. The combat is incredibly visceral and great fun to watch, zoom right in and see cavalry charge down a line of infantry or a cannon ball decimate a group of cavalry as they try to ride down your riflemen.

~ Straybolt from Games Xtream (2009)

Once armies clash, these prebattle decisions generally have far more impact than any midskirmish choice, and it's as enjoyable as ever to zoom in close to your troops and watch them engage. The landscapes are on the bland side, but soldier animations and the general amount of model detail make for a wonderful visual treat.

~ Kevin VanOrd from Game Spot (2009)

Motion-captured cinematic actions have been applied to the units likely to get into hand-to-hand range, and generally units exist and clash much more naturally and believably than before.

~ Rob Purchese from Euro Gamer (2008)

The seamless precision in which the actors choreographed their moves was really impressive to watch.

~ Mark O’Connell from Total War.Com (2008)

It was impressive to watch two soldiers clanging their muskets together, stabbing and snarling while combat raged all around. Even more impressive was when a cavalry officer joined the fray, leaning to one side to slash down at opponents while they dodged his blows and tried to dismount him. The cavalry officer's head looked down and pivoted to follow his target as he circled his prey. The graphics really serve to bring the harshness of Napoleonic battles to life. We watched a British flag carrier lead a line of redcoated infantry into battle, boldly vaulting over a wall and into the thick of an enemy position. Surrounded by enemies, we saw that he was reaching for his sword when his foes brought him down. Mechanically, the loss of a flag carrier means that his unit takes a morale hit, but somehow the game mechanics seemed secondary to the drama unfolding on the battlefield.

~ Game Spy (2008)

I wanted to say a massive thank you for the wonderful training you did for us. The entire team enjoyed the two days and are raring for more! I think that a couple of them might even look into having more training so they can further their skills - since they enjoyed it so much. So well done and thanks for a successful couple of days!

~ Danielle Scott from Forte Theatre (2010)

Ronin has been a fantastic fight director and I believe brought unique skills to the work of Muddy Icon. The short film was shot on location and Ronin had no time to prepare the choreography and worked with dancers while other shooting was taking place in the location. Ronin worked well under the pressure of very tight deadlines, he was provided with no prior information on the film script, physical space within the location, how many dancers he would work with or other choreography, this was all provided on the day of the shoot. He is a talented creative individual with an excellent ability to adapt, overcome, create and has excellent people skills.

~ George Kirkham, Director from Muddy Icon (2007)

We have had nothing but positive feedback from the agency and the client

~ Gorden Kemp / Director from Liveblades (2009)

Emilie said it went really well and you guys were great with the kids! Thank you to everyone for all your hard work. The client was very, very pleased. Thanks again and TOP job!

~ Archie Archer from Contraband International Ltd (2009)

Just wanted to say a huge THANK YOU for all your help and support as well as creative genuis that has brought us the most successful opening ... i have been told by several influential people including leasing agents that this was, without a doubt, the best opening of a centre they have seen! Thanks again for all your help and long may the success continue!

~ Gloucester Quays Outlet Centre (2009)

Just finished full run through of the show and it looks Amazing! Fight scene is Epic!

~ Tivoli Theatre (2011)

The audience followed a monumental fight developed by Ronin Traynor with cheering, chanting, and raucous participation from a thoroughly thrilled and entertained audience.

~ Max Lewendel / Director from Tivoli Theatre (2011)

This is first time i've worked with a professional fight director on a show, and what a difference it has made. Ronin's choreography was a joy to perform and learn, as not only did it test my technical abilities, but it complimented and hightened the character and story. It's pure epicness beautifully brings the production to a climax and leaves the audience buzzing. Having this experience gives me a lot of confidence going into a another show requiring choreography, and I hope it'll be with Ronin again.

~ Richard Maxted / performing as Hamlet from Tivoli Theatre (2010)

...with commendable stage direction and costume design aiding in creating powerful images on stage; notably the lone, extinguished life in a court of corpses that the play finishes on, alongside impressive fight choreography from Ronin Traynor.

~ Graham Ashton from Pugwash News (2011)

Ref the final fight - "This scene, it has to be said was well choreographed and a welcome livener"

~ Jenni Dixon from The Public Reviews (2011)

There’s an extremely effective duel - Ronin Traynor is the fight director.

~ Anne Morley-Priestman from Whats On Stage (2010)

The savagery often makes for quite harrowing viewing. 4 Stars.

~ Magnus Huntly-Grant from AllThe Festivals.com (2009)

The acting exercises were a welcome addition to the workshop. Having been present for many FPT feedbacks, the most consistent note seems to be a lacked of played intentions. I feel that's because the acting part of stage combat, though intrinsic to the discipline by nature, is often underemphasized in favor of weapon's technique. Of course, time constraints and level of participants skill will always be an issue, but the earlier "acting the fight" can be brought into the process, the better the FPTs will be as a result.

Very much enjoyed how personable the teacher, interns, and other participants were. Workshops like this are 100 times more effective when the people in them are fun to be with. Also enjoyed how the participants were involved in the choreographing process, it brought insight into developing choreography and made us feel more integral to the whole experience.

~ Taylor Hohman / Course Participant (2012)

I expected a high level of professionalism, experience and knowledge from the teacher, and for this to be passed on in a clear, safe and most of all, enjoyable way. Not only did it meet my expectations, but exceed them.

I thought they were brilliant, they were always willing to help you as an individual, not just a pupil in a class. They were able to continuously adapt to individuals changing levels of experience and understanding, while helping you to push yourself.

It didn't feel like a class, it felt more like having a laugh with some friends, but still we managed to learn, be safe and push ourselves.

I don't think there is much to improve on. I had a great time, learned loads and came away with two distinctions! Bring on the next course!

~ JD Francis / Course Participant (2012)

Ronin is an awesome teacher. Very professional and approachable but also such a good laugh at the same time.

~ Amber Pearson / Course Participant (2012)

Ronin’s thorough, detailed approach to the sessions was both enabling and empowering...What impressed me more than anything about Ronin’s work during the fortnight was his indefatigable patience and his ability to tailor exercises and elements of course to suit the varying skill levels across the participants.

~ Fiona Williams - Participant (2012)

It was a great pleasure working with Ronin, what a great attribute to the industry extremely knowledgable, not a bad thing to say. Nothing but good energy. Just wished it could of gone on for longer. Thankyou.

~ Paul Scott / Participant (2012)

I got what I expected, as is written in the course breakdown, but I feel I came away with more insight and understanding than I had anticipated, much to my delight! Some teachers can do the talk, some the walk. Ronin can do both. My experience and background lay in martial arts and dance. While everyone learned off the same page, Ronin still worked our individual needs, which I appreciated greatly.

~ Richard Leggett / Participant (2012)

Ronin is a fantastic teacher, very professional and patient.

~ Ines Boughanm / Course Participant (2012)

I expected a high level of professionalism, experience and knowledge from the teacher, and for this to be passed on in a clear, safe and most of all, enjoyable way. Not only did it meet my expectations, but exceed them.

I thought they were brilliant, they were always willing to help you as an individual, not just a pupil in a class. They were able to continuously adapt to individuals changing levels of experience and understanding, while helping you to push yourself.

It didn't feel like a class, it felt more like having a laugh with some friends, but still we managed to learn, be safe and push ourselves.

I don't think there is much to improve on. I had a great time, learned loads and came away with two distinctions! Bring on the next course!

~ JD Francis / Course Participant (2012)

Ronin is an awesome teacher. Very professional and approachable but also such a good laugh at the same time.

~ Amber Pearson / Course Participant (2012)

I had done workshops with Dan and Ronin before so I knew what to expect really. They come across as very knowledgable and enjoy the whole process very much. They're very serious about the subject matter but their easy going attitude makes them enjoyable to learn from...I had done two years of screen combat at drama school but I still felt like I had learnt a lot in that one day.

~ Student Feedback (2011)

The fight was wincingly good particularly when it went into reverse.

All in all I would highly recommend it!

~ Customer Comments (2010)

The fight scene was easily my favourite part which fight choreographer Ronin Traynor deserves credit for.

~ Victoria Claringbold from Theatre Reviews London (2010)

The physicality of each character in every scene has clearly been given a huge amount of consideration.

~ Amy Yorston from The British Theatre Guide (2010)

The orcs and the battles are suitably ugly.

~ Jennie Kermode from Eye for Film (2010)

all the performances have a skill level far above that which is usually evident in low-budget cinema.

~ Wendy Ide from The Times (2010)

The acting was outstanding, as was the choreography for the fighting.

~ David Barrett from Audience review at New Town Theatre, Edinburgh (2011)

The fights look incredible and there's a huge buzz at the venue in Edinburgh about how much we go for it and how incredible the fights are, especially the final one. Thanks again for a stellar job.

~ max Lewendel / Director from Icarus Theatre Collective (2011)

There is a great physicality to the entire play. The fight scenes towards the end are brilliantly choreographed and performed.

~ Gregory Mersol from Audience review at New Town Theatre, Edinburgh (2011)

A remarkably high-octane Macbeth graces the new town theatre in Edinburgh this month. Icarus Theatre Collective ensures that their shortened version of Macbeth is as action packed as it is exhilarating to watch. With sword, axe, spear and bare fist fighting it is an impressively energetic and dynamic production condensed into eighty minutes. - 5 Stars

~ Victoria Claringbold from Remote Goat (2011)

I was looking forward to MACBETH at the NEW TOWN THEATRE ... and I wasn’t disappointed! Opening with a dramatic sword fight on a darkened set with a full moon shining down on the actors, and immediately we are transported into the world of Shakespeare ... In fact all the moments of treachery and bloodshed were absolutely thrilling, sending chills down my spine, especially when Macduff’s wife and son are murdered. Absolutely spine-tingling!

~ Damian Bullen from Audience review at New Town Theatre, Edinburgh (2011)

Given the right treatment, Hamlet, Julius Caeser and Macbeth can be as gripping as any Hollywood blockbuster. This production fits the bill perfectly. The high-octane opening battle sets the scene for this dark tale on intrigue and violence... The action is fast-moving and unrelenting, so pay attention.

***** Five Stars

~ David Kerr from Carrick Biz (2011)

Direction moves things forward at a fast pace, punctuated with some striking fight choreography which explodes onstage at the requisite points.

~ Keith D from Edinburgh Spotlight (2011)

A brilliant production. Top notch acting, set design and costume.

Full of blood curdling action and loads of emotion.

~ Simon Moore from Audience review / New Town Theatre, Edinburgh (2011)

convincingly choreographed battle scenes

~ Alice Longhurst from The Public Reviews (2011)

It starts well - with a dynamic fight sequence that seems to populate the stage with dozens of combatants despite a cast of only seven.

There are some highlights: the clever creation of the banquet table from a red drape, the chilling murder of Macduff’s family, and the large scarlet gashes appearing in the set that signify the growing body count in the play.

~ Portsmouth News from The Kings Theatre, Portsmouth (2011)

The play explodes into action with a high-powered fight sequence using real swords, axes and spears that superbly captured the intensity of battle (fights directed by Ronin Traynor)...Macduff smouldered and festered with grief at the news of his family's slaughter before exploding into a violent quest for revenge against Macbeth in a bloodthirsty graphic and vivid ending.

~ Robin Strapp from The British Theatre Guide (2011)

Thirty of our fifth year students had the opportunity to experience the

magic of live theatre on Wednesday night last when they attended an

excellent performance of Macbeth at The Source Theatre. Directed by Max

Lewendal, the Icarus Theatre Collective’s production of the ‘Scottish play’

has received much critical acclaim and having witnessed Wednesday night’s

performance it is fair to say that those positive reviews are more than

justified. The acting, particularly by Joel Gorf, who played Macbeth, and

Sophie Brooke, who played Lady Macbeth, was of a very high quality and the

company certainly succeeded in recreating the play’s atmosphere of eeriness

and malevolence. The tension in the lead up to Duncan’s murder was almost

palpable while other highlights included the porter’s comic interlude and

the excellently choreographed battle scenes. It was certainly enjoyed by the

students who attended and it should be hugely beneficial in improving their

knowledge of and appreciation for the play they will be answering on in next

year’s Leaving Cert English exam.

~ Audience Feedback from CBS Thurles Secondary School (2011)

Ronin provided his services as a fight choreographer on our recent production of Meri Christmas 2006. Working with actors with a wide range of ages and abilities he successfully created a suitable fight.

Ronin was a pleasure to have involved in the project, working well within the team, providing useful feedback and supporting the project through the tour. I would happy consider him for future projects.

~ Kate Allen, General Manager from RIFCO (2006)

There are a few genuine surprises. The first is just mechanical but it's slightly startling when the TV set chuntering out Hindi dramas blows up with a puff of smoke. The second is pretty horrifying when Raul's son attacks his father demanding power of attorney over his considerable assets.

~ Helen Taylor from Richmond & Twickenham Times (2006)

When you view these battles close up at ground level, it really is spectacular watching all your individual soldiers fighting to the death in melee combat as your artillery units fire a barrage of cannonballs at the supporting troops of your opponent.

~ Tim Welford from Coventry Telegraph (2010)

The game has been designed to achieve a new animation epic battle effect of faithfully portraying the fighting at the time.

~ Tech Arena (2010)

BEST PC GAME AWARD

~ Milthon European Game Awards (2010)

Scared horses flee the battlefield with riders being dragged along on the ground while their foot is caught in the stirrup, bodies are thrown or drop to the ground in a realistic manner

~ Starks from Australian Gamer (2009)

Despite a lot of constraints, Ronin adapted himself very quickly to the set and has elaborated in a short period of time a choreography that suited the story, the location and more importantly the actresses.

His experience facilitates a good communication with the director and other head of departments, and provides the actresses with a self-assured feeling that enables them to do the fight.

~ Stephan Tin / Director (2011)

The two sabreurs were excellent; Roger Bartlett and Ronin Traynor gave an electrifying performance.

~ Richard Shannon / Producer & Director from Shannon & Clark Productions Ltd (2009)

This visually captivating theatre event is a wonderful example of how well video and live theatre can work together for modern audiences.

~ Sarah Toppland from The Evening Standard (2010)

You have to hand it to the West Wing Arts Centre in Slough. Its programme of entertainment is consistently varied and challenging. Staging a play like One Flew Over the Cuckoo's Nest last week was not an easy option. But director Ronin Traynor came up with a novel slant on the story of a rebellious newcomer, who stirs up his fellow patients at a mental home to fight back against the tyranny of the head nurse ...(Billy's death) was powerfully handled and if some of the show's directorial flourishes - including a doctor who comes out of the floor in a booth like a fairground fortune teller - were occassionally distracting, the emotional power of the piece still shone through.

~ Francis Batt from the Express (2008)

Very chilling / Effective and moving / A brilliant vision, original idea / Didn't expect to cry, but it just overcame me. Good job! / So very impressed, made my mouth drop and my heart race / Ingenious concept. Mind blowing in its originality.

~ Customer Comments (2008)

The cast’s energy was remarkable, building up to a crescendo in the final horrifying scenes of Desdemona’s murder.

~ Alice Williams from The York Press (2009)

Shakespeare's play emerges in sharp focus in this professional touring production as a clash between physical and psychological danger in the persons of Othello and Iago.

~ Mike Allen from The Portsmouth News (2009)

I loved the Iago/Roderigo scene where Iago goes so far as to use reverse psychology and give the dagger to Roderigo, and I was also in disbelief when Othello is having a seizure and Iago is about to kill him before being interrupted - beautiful choices!

~ public feedback (2009)

The scene I most enjoyed, and was most engaged in, was the final one. Audiences see Othello strangle his wife, Desdemona, as she lays peacefully in her bed. We hear and see his love for her, but see that tales of her betrayal by Iago, have got the better of him. Overall Othello was a dramatic and spectacular show.

~ Sonia Kapur from Maidenhead Advertiser (2009)

When the lines between reality and fiction become blurred in the second act, the production oozes dramatic tension ... As Pagliaccio, Paul Featherstone deftly portrays the crazed intensity of his character trying to come to terms with the situation in hand. When he leaps out of his puppet booth proclaiming 'A clown I am not' it is obvious to all that this will be the final curtain for a number of characters as he clutches his razor vehemently. The hand that brought so much joy through puppets will now reap destruction and sadness...

There is also something wonderful about Nedda's use of the slapstick, a comic tool turned weapon, to protect herself from creepy Tonio's advances. With the fun stripped away, the darker undertones of circus life are revealed and everyone begins to suffer from a bout of coulrophobia.

Director Anna Gregory's production is a joy to behold ... Comic touches abound, including a hilarious opera singing Toby the Dog, but these do not distract from the tragic aspects of the plot's narrative and, if anything, enhance the horrific nature of Pagliaccio's actions.

~ Simon Sladen from The British Theatre Guide (2011)

I'd forgotten what a tight and brutal piece this is. Verismo, indeed.

~ Anna Picard from The Independent (2011)

The feed back with the Young Actors was – they wanted more.

~ Sally Power / Head of Admissions and Short Courses from RADA (2011)

Ronin Traynor was recruited by Slough Young Peoples Centre and Mess Up The Mess Theatre Company to choreograph and train young actors in a key combat scenario within the production ‘Sex, Drugs and Last Minute Goals’ by local writer Mathew Carvalho.

Ronin successfully created a stylish but simple sequence that was effective in creating an atmosphere exploding with violence that was safe and in control. Working with hard to reach young people can be difficult but Ronin engaged easily with the actors and was encouraging and challenging at all times. The actors trusted his training and consequently took direction from him well.

I would not hesitate in hiring Ronin for further youth or professional work due to his commitment, talent, approach and dedication. Ronin was detailed in his critique and professional at all times. I look forward to an opportunity to take this partnership further.

~ Sarah Jones, Director from Mess Up the Mess (2004)

Artistic, formidable, and action packed, this remarkable strategy game is the best Total War yet.

~ Daniel Shannon from Game Spot (2011)

Thrilling clashes between massive armies... Nobody does big battles as well as Creative Assembly. In Shogun 2 the studio delivers a masterful blend of visuals and satisfying gameplay, a result of years of experience refining the Total War formula.

~ Charles Onyett from IGN (2011)

You see your warriors as if they are samurai with great skill. Movement and choreography for your small Total War soldiers is really inspiring !

~ Hakkology from Game Spot (2011)

Although each troop may appear tiny from the overhead viewpoint, zooming in reveals them to be rich in detail and fluidly animated. You can really see this when battles kick off, as each soldier lets loose with a flourish of graceful sword fights and choreographed manoeuvres. Shogun 2 is simply a stunning achievement.

~ Dave Cook from Now Gamer (2011)

Thousands and thousands of individual units take part in these fastidiously detailed skirmishes, making for one of the greatest spectacles in videogames.

~ Kelly MacDonald from The Observer (2011)

During our demo, we saw two ranks of katana samurai battling with each other and it looked even better than the thrilling combat in Empire. Add in support for up to 56,000 units in a single battle, and it's clear to see just how ambitious Shogun 2 really is.

~ Steve Butts from IGN Entertainment Games (2010)

I have to say it was fabulous fun...... and a real eye opener to discover some of the tricks of the trade. Dita and Ronin were exceptionally talented at fooling us into believing they were beating the living daylights out of each other!

~ Keith Ackerman / Workshop participant (2011)

Wasting no time the cast then hurl themselves into telling ‘The Knight’s Tale’, with Harry Napier’s Arcité and Matt Salisbury’s Palamon battling it out so violently that you fear for their safety, that is until you realise that they wield violin bows as weapons and cymbals as shields.

~ Lois Jeary from Exeunt Magazine (2011)

The fight scene between Harry Napier and Matt Salisbury using a violin bow and cymbals was very funny and effective.

~ Elizabeth Vile from The Public Reviews (2011)

In narrating and acting out six of the Tales, the cast are fighting one minute, then singing, then carousing, then killing, then kissing and they do all those things and more with the joyous celebration of human fallibility that courses through all the stories.

~ Gary Naylor from Broadway World (2011)

Thank you Ronin for your dedication and hard work on our production. I know all the actors appreciated your experience and humour to get through the wide range of weapons and fight challenges this play needs. We all feel a lot more relaxed with this work under our belt and couldn't have done it without your sensitive approach to the text and characters and now the actors feel confident to get on with the rest of their work. I couldn't be happier.

~ Aaron Paterson / Director (2010)

It was really important that the fight sequence looked real and threatening. It had to seem like a situation where most people would walk away and to create this we contacted Independent Drama. They have great experience in stage combat and did a phenomenal job choreographing and executing the fight sequence. It would be a pleasure to work with them again on a later project.

~ Andreas Reksten / Director (2010)

Ronin made an invaluable contribution to the show with his exciting one-on-one fight with another actor – combatant. He devised a single-handed broadsword fight that was exciting and realistic. Feedback from audience members said that they were literally on the edge of their seats. He coped brilliantly with the added challenge of choreographing a scene for a thrust stage, with the audience on three sides of it. This seating arrangement makes it very difficult to conceal knaps and pulled moves but Ronin’s fluid, circular choreography handled this superbly.

He rapidly adapted some aspects of the choreography in order to fit in with the other fights and the demands of the music that was under-scoring the scene. He was very easy to work with, obliging and flexible.

He willingly participated in another scene (Beowulf’s funeral) and was a real team player. The actors were quick to tell me of their appreciation of his skill and contributions to the show, as well as his personal qualities.

~ Lindsay Lohan, Associate Director from Travesty Theatre Company (2006)

Your advice came in very useful indeed. We imparted everything you taught us to the presenter and tried to apply it to the planning of the shots and it definitely helped it to look good and for everyone to feel safe.

~ Lucy Haken / Assistant Producer from Lion Television (2011)

Hi Ronin. Thank you for the care and attention that you put in the Combat workshop this weekend. It was a really interesting experience. I hadn't appreciated what skill and mastery there is in stage/screen combat. For me it was a real exercise in being present to the moment, I look forward to playing with some of the simpler moves and incorporating them into my Transformation performance at the end of the month.

~ Anne k Scott from Crossing Frontiers (2010)

Very realistic fighting. The costumes and weapons are true to their times. The kids really got into cheering for our knight!!! (We had to keep explaining afterwards that these knights weren't actually killed, it looked so real!!

~ Arvinda Bala / Customer (2011)

... and knights who fought in the middle of the floor much to the delight of the crowd.

~ Customer (2011)

I had cast Ronin as one of my street thugs, looking at his extensive background in fight training helped me when casting him for the part.

From the beginning I had a clear vision of what I perceived from the fight scene in the film, Ronin not only conducted himself in a very professional manner, his input was also very helpful when it came to the realism of the scene.

He offered up a plethora of positive ideas helping to make my experience of choreographing a pleasant one, he worked very well with all of the team on set adjusting amazingly to anything that needed to be changed at the last minute, all the while not compromising his performance or the effect of the scene.

There were a couple of times where I asked quite a lot of him, like to take kicks dangerously close to his face in order to get a certain shot, and not only did he oblige but he helped with camera angles in which to make it look as real as possible.

All in all he was prompt, on time and a consummate professional both on set and during the chorography and was a pleasure to work with.

~ Jamie Montgomery (2006)

Though I won't reveal the details, there's a strangulation scene which is exceptionally realistic – presumably orchestrated by fight director Ronin Traynor. ... I seldom see a production that I'd like to see again, but with 'The Woman Before' I would have happily sat through the whole thing again immediately.

~ Peter Brown from London Theatre (2009)

Thank you for taking the time to show us your moves! It was one of the best rehearsals I've ever had, both exciting and challenging not to mention very very scary with those knives. Looked like you were enjoying yourself just as much as we were. Here's to an extremely patient teacher and mentor... a million thanks! I hope we make you proud... we couldn't have done it without you.

~ Jeffrey Chinappen (performing as Bernardo) from Epsom Players (2010)

I really enjoyed the day. Ronin was very professional, very charming and friendly. We learned a huge amount in such a short space of time, and by the time we were done, felt super-confidant about performing it in front of a live audience. We worked hard and I definitely lost a couple of pounds in sweat! Highly recommended.

~ John Sutherland (performing as Riff) from Epsom Players (2010)

Ronin Rocks! The fight sequences are such a crucial part of this show and his advice, support and safety tips, which helped make us look so proficient at stage-fighting, are much appreciated.

C'mon the Sharks! Habra an attaque tonight....

~ Dalton Leong (performing as Luis) from Epsom Players (2010)

Ronin is a true professional and was a pleasure to work with during our rehearsals for West Side Story. He explained the techniques of stage fighting clearly and concisely,and ran some excellent workshops on both non-contact and contact fighting. In addition, his excellent choreography ensured that fight sequences not only looked extremely realistic, but were entirely safe.

~ James Tarbitt (performing as Moose) from Epsom Players (2010)

I had a fantastic time during our session with Ronin and really feel I learnt a lot from him. I'd had a few sessions on stage fighting when I was younger but nothing as in-depth and exciting as the stuff we did with Ronin. He made sure we were all happy with what we were doing and was really keen on making sure everything looked as realistic as possible, and judging by the reactions of the rest of the cast and the audiences, he did a fantastic job at the too. Thanks a lot!

~ Jan (Ziggi) Szafranski (performing as Chino) from Epsom Players (2010)

I thought the fight training was really well executed. It was clear from the start that the aim was to make everything look as realistic as possible, but the primary focus was always safety. The show had 2 fight scenes and at no point did I feel in any danger - I would attribute this to the informative training we had which was delivered in a positive way.

~ Jonathan Ford (performing as Baby John) from Epsom Players (2010)