Phoenix 24
Two major actors will anchor a new season built around classic theater.
Buenos Aires
Joaquín Furriel and Gabriel “Puma” Goity will return to the Teatro San Martín in 2027 to lead two new classical productions as part of the next season of the Complejo Teatral de Buenos Aires. The announcement was made by Buenos Aires Culture Minister Gabriela Ricardes during the Biarritz Amérique Latine Festival in France, where the city’s theatrical scene has received special international attention. The specific works have not yet been revealed and will be announced with the rest of the 2027 program in the coming weeks.
The decision extends the strong relationship both actors have developed with Buenos Aires public theater. Furriel has been performing in La verdadera historia de Ricardo III, a free adaptation created by Calixto Bieito and Adrià Reixach from Shakespeare’s classic. The production sold out performances after its premiere and later became the first Complejo Teatral de Buenos Aires production to enter the official program of Barcelona’s Grec Festival. Furriel also received an ACE Award for his performance.
Goity arrives with an equally significant record. Since 2023 he has starred in Cyrano, based on Edmond Rostand’s play, in a production that has surpassed 200 performances and attracted more than 150,000 spectators. The run became one of the strongest audience successes for the public theater complex in recent years and earned Goity the Estrella de Mar de Oro in Mar del Plata.
Their presence in Biarritz also reflects a broader strategy of transforming Buenos Aires theater into an internationally circulating cultural product. Films derived from both stage successes, Cyrano en mi cabeza and La verdadera historia de Ricardo III, were screened at the French festival after appearing at the San Sebastián International Film Festival. For city cultural authorities, this crossover between theater and cinema expands the international reach of productions originally created for public stages in Buenos Aires.
Both actors have also emphasized the social function of public theater. Goity has highlighted affordable access as a way of bringing audiences into theaters that might otherwise remain distant from major productions. Furriel has similarly described the responsibility of presenting classical texts to spectators who may be attending the Teatro San Martín, or even a theatrical performance, for the first time.
The 2027 season will also include the return of Elena Roger in Invasiones I: no bombardeen Buenos Aires. Together, these announcements suggest a programming strategy that combines established performers, canonical material and international visibility.
For the Teatro San Martín, the objective is no longer simply to fill seats. It is to turn public theater into a cultural bridge between mass audiences, classical repertoire and a wider global stage.
Phoenix24: clarity in the grey zone.