Morio Emori (Theatre critic)
The performance paid homage to Beckett perfectly. I have seen most of Sato’s plays since the 60’s when he began his company Jiyu Gekijo at the underground theatre in Roppongi. This show is a crystallization of his theatrical essence.
Minako Okamuro (Director of Waseda University Theatre Museum, Samuel Beckett Research Circle of Japan)
I have not seen such a beautiful ‘Happy Days’. It was brilliant. As in American silent movies, through humour and pain we could feel how physical Beckett’s play was.
Yasushi Sato (Researcher of Contemporary French Theatre)
It does not matter whether it was a play without dialogue or butoh without dancing. I felt that this piece simply reached a radical human existence. It was incredible.
Katsuhiro Yamada (Theatre Journalist)
Makoto Sato contained the movement of Keiko Takeya and created an expression stronger than any words. Keiko Takeya’s charming expression reminded me of Gelsomina, Giulietta Masina in ‘La Strada’.