THEATER PRODUCTION

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Based on the novel by Raphael Montes and directed by Cesar Baptista (2017), the play ran at Teatro Cândido Mendes in Rio de Janeiro, as well as Teatro Augusta and Espaço Parlapatões in São Paulo.

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At the age of 20, Rio-born writer Raphael Montes impressed critics and audiences alike with Suicidas, a sweeping crime novel that secured him a place among the ten finalists for the São Paulo Literature Prize in the Best Debut Author category.

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Synopsis

Téo is a quiet medical student who meets Clarice and develops an obsessive love for her, ultimately leading him to take an extreme and irreversible action.

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Credits

Original Novel: Raphael Montes
Direction and Adaptation: Cesar Baptista

Cast: Dani Brescianini, Helio Souto Jobim, Arno Afonso, Leonardo Vasconcelos, and Virgínia Castellões

Assistant Directors: Diogo Paquim and Leonardo Vasconcelos
Lighting Design: Edson FM
Set and Costume Design: Igor Alexandre Martins
Original Score: Cesar Baptista
Press Relations: Minas de Ideias

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REVIEWS

“The cast is extremely well integrated, with strong and convincing performances. My impression was that I was watching a well-established production being revived for the umpteenth time — but in fact, it was only the second day after the premiere.”
88 Milhas

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“Cesar Baptista is a hero for bringing two successful books by the same author to the stage while maintaining the suspense and the quality of the written text when transformed into spoken word. The result is a very well-executed and produced work. The solutions for Téo’s nightmares, the scenes of physical violence, the use of the micro stage, the drowning scene, the car rides, the inn’s dwarfs, and Téo’s mother are all excellent. The suspense is sustained from beginning to end, and I am certain that even those who have not read the book will be able to follow the story and clearly understand each character’s trajectory.”
Aouila no Teatro

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“Cesar Baptista builds a dramaturgy that holds the audience’s attention from start to finish. As a director, his creativity and unpredictability in staging stand out, as does his ability to highlight the multiple emotional atmospheres at play and his command of rhythm, especially in scene transitions and moments where silence prevails.”
Lionel Fischer