Tour: Vila Real de Sto. António, Albufeira, Estremoz, Aveiro, Faro, Alcobaça, Portimão
Linda Inês is a show about the tragedy involving D. Pedro I and D. Inês de Castro. The show explores aspects of the conflict between the reasons of Love and the reasons of the State, in a contemporary reading in terms of the plastic point of view, and existentialist in the philosophical point of view.
‘The play does not portrait exhaustively the drama revolving around Pedro and Inês de Castro (…) However, the scenes in this play left the audience in suspense, nailed to the chair. The presence of the executioner [Mário Spencer], hidden behind his metal armour, and the arrival of the King with the executioners of Inês, were the moments that impressed the audience the most.’
Mário Lopes, Tinta Fresca nº5, 2001
‘The play that ACTA just showed us [Linda Inês], confirmed how theatre gains values of expression and paths that mark and register time, during its different stages and readings of different mentalities of various eras. […] Maria João and Luís Vicente, the couple adjusted to the modern interpretation of Inês and Pedro, showed themselves, him, in a well-structured and easy to read impetuous playboy, assuming the duplicity of the character; her, amorous – her weapon – intelligent and politically implicit. From “A Castro” to “La Reine Morte” this cycle was worthy of it with “Linda Inês”. Faro keeps the tradition.’
Teodomiro Neto, O Algarve, 12/04/01
‘This new work presented by ACTA, with stage direction by the actor Luís Vicente, is among one of the best and well accomplished works presented till this day by this company, combining a classical language with a sublime yet shocking aesthetic action avant-garde. […] All actors are to be congratulated for, because the success is global.
Algarve begins to be closer to the nation’s capital with a show of this level. And the algarvian power should be paying close attention to this need.’
Magazine do Algarve, 01/01
‘A tragic end, that gives us the opportunity to feast our eyes, our ears and all other senses which we forgot about, throughout the play.’
Diário do Sul, 06/12/00