REVIEW: RONiN

©️Ronin by Yukiko Masui, photo by Daniel Phung

The starting point for RONiN is unusually concrete. During lockdown, Yukiko Masui met Kashmir Leese in a park and began studying the sword under his guidance, and that discipline feeds directly into the movement language on stage. This is not a decorative nod to martial arts. It sits in the body, shaping timing, control and intent. Masui’s training in hip hop, ballroom and Latin dance remains visible, but here it is channelled into something more focused.

When the choreography softens, the arms open into fluid, wave-like patterns. There is a sense of continuity in the upper body, a flick and swing that recalls traditional forms without settling into imitation. Then the texture tightens. The kendo-derived passages, including solo sequences and moments of direct confrontation, rely on stored energy and precise release. These sections hold attention through accuracy and weight. They give the work its backbone.

Such clarity is placed under pressure by the scale of the visual design. Barrett Hodgson covers three walls and the floor with projection, building an environment that continually reshapes how the performers are seen. At points, stark black and white frames mark out position and direction, tracking the dancers’ movement across the space. Elsewhere, the imagery shifts in response to the body’s rotation, creating a synchronised change of perspective. There are sequences where each step triggers a visual trace beneath the feet, echoing the logic of digital environments and animation.

This approach risks pulling focus away from the live body. There are moments where the eye drifts towards the projection, particularly when the visual field becomes dense. Even so, the choreography resists being flattened into the surface. The dancers maintain a sense of force and decision. The design begins to function less as a backdrop and more as a partner, extending time and space rather than overpowering it. The balance is not effortless, but it is considered effective. Sound is central to that balance. Composer Ruth Chan opens the work with a fine texture of rain, drawing the audience into the space. From there, the score expands and contracts with the choreography, at times building a strong sense of momentum. Masui has said that the music came first before the movement, and that order of creation is legible in the structure.

The title refers to the rōnin, a masterless samurai in feudal Japan, a figure shaped by loss and the need to find a path without guidance. Developed with writer Si Rawlinson, the work draws on that condition without turning it into a narrative. It circles ideas of self-definition, of building a sense of home, of choosing who stands beside you. Costumes by associate designer Mio Jue support this interplay. The clothing sits between contemporary and classical references, with a light touch that avoids overstatement. It allows the dancers to move cleanly while still marking them as part of a shared world. Among the three performers, Cher Nicolette Ho brings a steady sense of purpose to the central role, combining control with openness. Jacob Lang and Nathan Bartman meet that focus, particularly in the exchanges that depend on timing and restraint.

RONiN presents a work with a clear structure, though not every sequence carries the same level of resolution. Even so, a distinct voice runs through the piece, engaging with spectacle while keeping the body at its centre. As it continues to tour beyond The Place, there is scope to refine that balance and bring greater clarity to its overall shape.

★★★★

For more information about RONiN, please visit: https://theplace.org.uk/events/spring-26-ronin/

Credits

Choreographer & Director: Yukiko Masui
Digital Artist: Barret Hodgson
Composer: Ruth Chan
Sword and Stunt Specialist: Kashmir Leese
Supporting Writer: Si Rawlinson
Performers: Cher Nicolette Ho, Jacob Lang, Nathan Bartman
Associate Costume Designer: Mio Jue