AWARDS

Best Experimental Theatre Director 1998 Mexican Association of Theatre Critics
Best Group Theatre Director 1998 Theatre Journalists Association
Best young actors 1998 Theatre Journalists Association
Best co-actor 1998 Theatre Journalists Association

 
PRESS SYNTHESIS
 
Mexico is well represented in the Festival.
Three days were not sufficient. Those who saw the staging of Becket or the Honour of God, left the theatre quite satisfied with the quality of this proposal, which makes Iberoamerican theatre shine. Valdés Kuri stands out as one of the Latin American directors possessing the most far-reaching international projection. 


El Espectador, Bogotá, April 10 / 00


A stimulating version of Thomas Becket's life. The montage, directed by Claudio Valdés Kuri, is a frontal spectacle, direct, charged with testosterone. A single actress and two actors cover 21 roles, in a surprising display of acting and scenic ability. The play overflows with vigour and emotion, proving that there are no great challenges too great to overcome when a cast has what is called talent.

J. P. Lombana
El Espectador, Bogota, April 10 / 00

 


A daring, carefully handled montage.
Subtle as an ancient bard¿s poem and clear as a speech with no pretentiousness. The two stars, Gerardo Trejoluna and Luis Artagnan are excellent; Carolina Politti is magnificent, and of course, so are Enrique Arreola and Gastón Yanes.

Santiago Martín Bermúdez
Primer Acto, Madrid, Jan-Mar / 00

 
Claudio Valdés Kuri reduces -or rather-  reanimates the original. The key to the staging of this play is their ability to convert a lineal, at times uneven text, into a crucible of disciplines: the music and dancing which the actors carry out gracefully and with skill, transport the spectator to remote times, without falling into mere historical illustration; the moulded images achieved through lighting effects and bodies owe their effect not only to cinema, but also to classic works and western visual arts; the adaptation is always pertinent, underlining the similitudes and reverberations of present day conflicts.

 Ricardo G. Arteaga and Ruben Ortiz
Viceversa, Mexico City, Nov / 99

 

The defined work has been accomplished.
Honour to whom honour is due. The actors clearly demonstrated their ability and quality, as well as their eloquence, experience and pure, professional work. Becket or the Honour of God is a play that includes everything it needs, asking for nothing more. All the pieces come together, and the pacing is perfect. The groups work is not to be questioned.

El Informador, Guadalajara, Oct 18 / 99
 

Deserves the highest grade!

 Alfredo Camacho Olivares
Excelsior, Mexico City, Oct 18 / 99
 

  
Theatre made with passion.
Claudio Valdés Kuri¿s directing technique is based on subtlety. Magda Zalles musical direction is stupendous. The lighting is very good especially when the atmosphere on the stairs is based on ingenuity. The handling of the different levels of the chosen setting, make this Cervantino experience an adequate road along which one can appreciate good Mexican theatre.

Rafael Bravo Meza
Correo de Hoy, Guanajuato, Oct 10 / 99
 

 

A creative, innovative, elaborate theatre presentation lasting three hours taking the spectators from one surprise to the next.This is a play with all the necessary elements to give lessons on good theatre: a mise-en-scene offering new proposals, creative and agile, replete with symbolisms and good acting.

Mary Carmen Urrieta
El Diario de Coahuila, Coahuila, Sept 21 / 99


A renewal of quality.
Materful, dramatic moments, managing time and space wit precision and excellent work by actors and director.

Lucía Sánchez
Palabra, Coahuila, Sept 20 / 99


This is one of the best plays staged in recent years. It is a perfect example of what can be achieved by combining the disciplines of all the arts, thus obtaining splendid results; this play raises Mexican theatre to new dimensions.

 Mabel Garza
Palabra, Coahuila, Sept 20 / 99
 
 

Surprising and brilliant!

Aracely Carrillo
Diario de Monterrey, Monterrey, Sept 25 / 99
 

 
A play worthy of Kings.

 Gerardo López Moya
Diario de Monterrey, Monterrey, Sept 23 / 99
 

 
In Becket or the Honour of God, we witnessed the work of a director who, if we were to use sports language, passed with flying colours a most difficult test achieved in a high risk area. As for the actors, they give a master class.

Ma. Rosa Ochoa
Cancuníssimo, Cancún, Aug / 99
 

  
An -Opera Prima- worthy of a master.

Norma Azar Cruz
Novedades de Quintana Roo, Cancún, Aug 21 / 99


Words filled with meaning...creating a theatre that surrenders to all the possibilities offered by imagination, and, by doing so, shakes ones reasoning. This is fiction game, slowly transforming itself into close, day-by-day Mexican reality, despite the fact that these events occurred in Europe centuries ago. Only the expert knowledge of a master could have created these images so wisely. The actors voices and personal atributes provided a perfets portrayal of the characters they themselves are not.

Karla García
La Crónica, Cancún, Aug 21 / 99


Words filled with meaning...creating a theatre that surrenders to all the possibilities offered by imagination, and, by doing so, shakes ones reasoning. This is fiction game, slowly transforming itself into close, day-by-day Mexican reality, despite the fact that these events occurred in Europe centuries ago. Only the expert knowledge of a master could have created these images so wisely. The actors voices and personal atributes provided a perfets portrayal of the characters they themselves are not.

Iolanda Madariaga
El mundo S. XXI, Madrid, Aug 2 / 99


Words filled with meaning...creating a theatre that surrenders to all the possibilities offered by imagination, and, by doing so, shakes ones reasoning. This is fiction game, slowly transforming itself into close, day-by-day Mexican reality, despite the fact that these events occurred in Europe centuries ago. Only the expert knowledge of a master could have created these images so wisely. The actors voices and personal atributes provided a perfets portrayal of the characters they themselves are not.

Karla García
La Crónica, Cancún, Aug 21 / 99


If anyone had thought that the word ¿theatre¿ had succumbed to the theatre of ¿images¿ (which is in fact a theatre of special effects), Claudio Valdés Kuri and his ensemble of excellent performers have come to show that plays which base their dramatic action in their discourse, cannot go out of fashion whenever they find intelligent and imaginative settings, as well as a high acting level.
Becket or the Honour of God is not only the best work in the festival, but also a return to the art of drama as a forum for the manifestation of ideas, and therefore is an homage to theatre itself.

Ana Laura Santamaría
Diario de Monterrey,  Nov 13 / 98


If anyone had thought that the word ¿theatre¿ had succumbed to the theatre of ¿images¿ (which is in fact a theatre of special effects), Claudio Valdés Kuri and his ensemble of excellent performers have come to show that plays which base their dramatic action in their discourse, cannot go out of fashion whenever they find intelligent and imaginative settings, as well as a high acting level.
Becket or the Honour of God is not only the best work in the festival, but also a return to the art of drama as a forum for the manifestation of ideas, and therefore is an homage to theatre itself.

Rosa Linda González
El Norte,  Nov 12 / 98


The honour of theatre is saved.
Danger: High tension! The audience was shaken with high voltage when it witnessed the clash between love and treason, the divine and the profane, the beast and the angel, life and death. In an impressive display of acting capacity, a three hour Master Class was given on what theatre is all about. It was work which contained fine subtlety as well as violent contrasts: the result of a carefully presented, corporal, vocal and emotional work.

Guadalupe Elosegui
Diario de Monterrey,  Nov 12 / 98


The Considering that it is an abbreviated version, the play hides its modest beginnings without affecting the proposal nor losing the coherence and strength of Jean Anouilh¿s text. Here we have a show of highly detailed, microscopic work; it is an ambitious document, which at the same time rejects scenic grandeur; a round piece of staging.

Hector Maza Moreno
El Porvernir,  Nov 12 / 98



This play is from beginning to end, a reunion of intelligent minds and capable spirits: The text is ideal raw material, but without a daring, cultured director and a group of actors who are just as finely equipped, the end product would not have been equally splendid. The staircase mutates from a palace or a shack, to the open countryside before the onset of battle. The costumes, music, props, each movement, sensation, and the actors gestures come across as finely embroidered lace. Works such as these are not forgotten and set the honour of Mexico¿s theatre very high; an honour that must always be defended.

Martha Zuck
Unomásuno,  México City, Oct 1 / 98


Becket: A glittering diamond.
The powerful atmosphere of the El Carmen Convent serves as our scenery and transports the spectator to other times. It is surprising how the choreography evolves only on the stairs. This requires great effort and physical ability on behalf of the performers and demonstrates that objectives are not barriers if they are handled with creativity.
There is an ideal lighting-design created by the director, who does not overlook a single detail. The performances were impressive, one could say that we are dealing with five martyrs on stage who strive to delight and lead their audience to reflection.

Javier Andino
El Supuesto,  México City, Sep 30 / 98


Becket: A glittering diamond.
The powerful atmosphere of the El Carmen Convent serves as our scenery and transports the spectator to other times. It is surprising how the choreography evolves only on the stairs. This requires great effort and physical ability on behalf of the performers and demonstrates that objectives are not barriers if they are handled with creativity.
There is an ideal lighting-design created by the director, who does not overlook a single detail. The performances were impressive, one could say that we are dealing with five martyrs on stage who strive to delight and lead their audience to reflection.

Victor Hugo Rascón Banda
Proceso,  México City, Sep 28 / 98



Choosing a good text is the first step towards giving a stage director confidence. To surround himself with an able team allows him to put things together efficiently and not to remain the factotum who does everything half way. An adequate cast selection rounds it all up. It only remains to see whether the director is well versed in drama and whether he is able to intelligently read the selected author. All of these coincidences were found in Becket or the Honour of God.

Enrique R. Meribal
El Heraldo,  México City, Sep 20 / 98


Choosing a good text is the first step towards giving a stage director confidence. To surround himself with an able team allows him to put things together efficiently and not to remain the factotum who does everything half way. An adequate cast selection rounds it all up. It only remains to see whether the director is well versed in drama and whether he is able to intelligently read the selected author. All of these coincidences were found in Becket or the Honour of God.

 Reyna Barrera
Unomásuno,  México City, Sep 19 / 98



Within the severe mysticism of the El Carmen Convent, we, as spectators, cannot fail to be wrapped in a theatrical cavity of characters, with paused and innumerable ascents and falls (hell and paradise), Valdés Kuri¿s fabulous mise-en-scene shelters us in a remote and rigorous climate. Here, scenic miracle-working becomes proof and testimony of actors who transform themselves before our very eyes into twenty ¿others¿.
Blood drops that have become beads of an impossible necklace... The song of Genesis.

 Armando Vega Gil
La Jornada,  México City, Sep 11 / 98


Within the severe mysticism of the El Carmen Convent, we, as spectators, cannot fail to be wrapped in a theatrical cavity of characters, with paused and innumerable ascents and falls (hell and paradise), Valdés Kuri¿s fabulous mise-en-scene shelters us in a remote and rigorous climate. Here, scenic miracle-working becomes proof and testimony of actors who transform themselves before our very eyes into twenty ¿others¿.
Blood drops that have become beads of an impossible necklace... The song of Genesis.

 Armando Vega Gil
La Jornada,  México City, Sep 11 / 98


The best staging of the year.
The play immediately takes us to other productions and films, but the deepest evocation lies in the space chosen by Claudio Valdés Kuri to accomplish such a grandiose feat.
With very few elements and five actors, Valdés Kuri presents a show which is endowed with many excellent aspects.
The group possesses overwhelming stamina; charged with energy, it gives exhausting pace to the actions which occur before us in a flash.
Each aspect of the production was carefully planned... Theatre marvels that are worthy of praise.

 Reyna Barrera
Unomásuno,  México City, Sep 19 / 98



Claudio Valdés Kuri reduces his setting to the staircase of the El Carmen Convent-Museum, but takes full advantage of it, with the capability of a great creator.
His scenic conception is of indescribable beauty. He manages to fully create one of the many magical aspects of theatre whose purpose is to make us see what is not actually there: The castle, horses, the woods, a parade, taverns, and an endless number of places and things that appear before the audience, due to the great creative capacity of the director.
Special mention must be made in relation to the scene of the parade and triumphant entry of the king of England into France, for it is one of the best scenes presented in our national theatre in the last thirty years. All those who form part of this staging, come together to present us with one of the best productions, not only of this year, but of our recent times.

 Alejandro Laborie Elias
Skene,  México City, Sep 10 / 98


Behind each gesture, image, atmosphere and sound, which come across to us fresh and spontaneous, one can sense a long and passionate investigative work, in which the actors expressive potential is pushed to the limits in the empty space.
I pray that Claudio Valdés Kuri may continue to create in this manner, giving himself fully and generously to his profession, and with respect towards spectators who, like myself, seek in theatre a form of joy and reflection.

 Luz Emilia Aguilar Zinser
Reforma,  México City, Sep 3 / 98



Becket or the Honour of God: harmonious artistry throughout.
This production will be the production of greatest quality due to the artistic harmony which occurred between the text and the actors.
The work has made Luis Artagnan and Gerardo Trejoluna the most distinguished actors of the decade.

 Emmanuel Haro Villa
Novedades, Mexico City, Aug 31 / 98


The actors corporal training must have been very intense. For more than two hours they go up and down the stairs, in a feat of characterizations, acrobatic and choreographed compositions, enriched by an evidently dangerous setting, which would otherwise not tolerate the type of formal acting which occurs on the ordinary stage.

 Javier Acosta
El financiero, Mexico City, Aug 31 / 98


What matters in the show is not so much Anouilh¿s text, which we already know to be efficient, but rather Claudio Valdés Kuri¿s ability to transform it into actions which constantly occur in a chain reaction, thereby forming a visual structure that supports the ideas with the equal strength that is contained within the author¿s words.
Dynamic originality and a delicious combination between seriousness and fun. A dramatic proposal which avoids the explicitness of naked structures, thereby reaffirming personal poetry.
The costumes are absolutely adequate and beautiful. In them we see a taste for detail and the implicit reference to certain facts and historic customs. The use of medieval instruments gives to the staging warmth and vitality which is very special.
The actors¿ work is homogenous, all follow a similar line of development, speaking the same language with equal effect and creativity. This translates into a solid work of direction by Claudio Valdés Kuri. He has been capable of making them all grow while restraining them at the same time. There is also undeniable ability and hard work in the group of performers.
A piece of staging which is full of well chosen imagery, formal discoveries and a text which rescues its most solid and contemporary aspects.

 Bruno Bert
Tiempo libre , Mexico City, Aug 20 / 98


Claudio Valdés Kuri assumes the role of director with quite good fortune. He presents a stylised conception of the French author from a fresh and different point of view.

 Olga Harmony
La jornada, Mexico City, Aug 20 / 98