RONiN Review: samurai duel and dance among cutting-edge technology
- Jack Davey
- Apr 26
- 3 min read
25 April 2026 I 19:00 I Lincoln Arts Centre (UK Tour)
⭐⭐⭐⭐ I PR - Invite
Not to be confused with the action film of '98 starring Robert De Niro, RONiN is a live theatrical experience inspired by the legacy of a masterless female samurai. Conceptualised by Yukiko Masui, audiences are invited to journey across Japan's four seasons, artistically merging ancient military tradition with contemporary, anime-style visuals.
Presented at Lincoln Arts Centre as part of its In Their Words season, this production joins a series that highlights the resilience and experiences of the women shaping our world. And RONiN is a prime example of this, as the protagonist challenges both herself and the male adversaries that stand in her path, culminating in an empowering performance.
Dancer Cher Nicolette Ho (protagonist) begins with a pre-show, sat isolated onstage and moving in a contained, stoic manner. Like a warrior prepares for battle. The stage is comprised of a three-walled white box, used as a canvas for Barret Hodgson's mesmeric projections. Sometimes these visual designs are literal: it opens with a rainforest, influenced by Shinto spirituality and an appreciation for nature. Conversely, other scenes embrace an abstract realm, characterised by harsh geometric shapes that lean into the cut-throat nature of swordfighting.
The art of a practicing samurai requires immense discipline, as tonight's trio of performers display the utmost precision through Masui's choreography. Primarily told through movement, RONiN is staged in an accessible way that isn't overly pretentious. Beyond combat scenes, there is a playfulness achieved with soft body language, observing blossoming love stories and experimenting with zero-gravity under the moon. Masui's direction leans heavily into contemporary dance, but also features elements of hip-hop for physically intense staccato sections.
The evening runs at 75 minutes, two thirty-minute halves with an interval between. For the most part, it is structured well, recovering its momentum very quickly post-interval. In the second act, a prolonged silence lasts a few minutes, as the protagonist trains into the night to the point of absolute exhaustion. The breathwork is briefly interesting, although being shortly after the interval, and given Ruth Chan's often energetic compositions, it doesn't really earn its silence, causing a lengthy and uncomfortable void without sound. Some shuffling in seats across the audience, but only losing its grip in this one scene.
Leading with control and dynamic facial expression, Cher Nicolette Ho is a magnificent storyteller as the show's protagonist, carrying an inherent watchability whose journey is liberating and honest. Supported by Nathan Bartman, the duo's pairing skills are executed with satisfying synchronicity.
The cast is complete with Jacob Lang's antagonising role, as he deploys a smoke-screen (replicated with a haze machine) in the highlight of the show. The other performers are enveloped in a shroud of smoke as Lang cuts through it with speed. Circling his opponents in silhouette, a palpable sense of menace rounds off Act One in a major cliff-hanger. Most importantly, Kashmir Leese's sword and stunt specialism allows for combat to be entirely believable, incorporating recognisable techniques seen in martial arts.
Taking advantage of theatre's latest audio-visual trends, RONiN doesn't go without asking its audience to use their imaginations. Many of us may likely come out of the auditorium with a different interpretation of the material, but that's all part of its appeal. Produced by The Place (London) as part of a short UK Tour, I already wish I could experience it all over again. Masui's production is an absorbing embark into Japanese culture, championing the future of live performance and daring to dream big.
UK Tour Dates (until 23rd May): https://theplace.org.uk/whats-on/
What's On at Lincoln Arts Centre: https://lincolnartscentre.co.uk/whats-on/
