Fight Direction:
"There is memorable scene after memorable scene, the most hilarious of which involves ... an elaborate sword fight...." -- Jeffrey Gillespie, Ashland Daily Tidings, February 28, 2016
"...brilliantly choreographed combat...." -- Dorothy Velasco, NPR For Oregonians, March 29, 2016
"Of note, the fight choreography by Christopher DuVal is more realistic and entertaining than that often featured in musicals and deserves special recognition." -- Tyler Hinton, BroadwayWorld.com, May 9, 2016
"...the funniest Shakespearean sword fight I’ve ever seen in my entire life...." -- Bob Keefer, Eugene Art Talk, February 27, 2016
"One of the highlights of the entire play ... the duel ... ensues with some of the most wonderful slapstick comedy one could ever see on stage." -- Lukas Wright, The Siskiyou, March 3, 2016
"The choreography, an OSF high point, is effectively employed .... in a thrilling, extended sword fight which is a highlight of the second act." -- Lee Greene, Jacksonville Review, July 17, 2015
"The choreographed fights by Christopher DuVal are thrillingly executed and lend excitement...." -- Rachel Brutsch, Deseret News, July 18, 2015
"...special thanks to fight director Christopher DuVal. The duels were fun and crisp. We wanted more.... This production is as good a production of the James O'Neill's adaptation of the Dumas classic as you're ever going to see." -- Dangerous Common Sense, August 22, 2015
"An attempt to arrest Falstaff is among the most creative fight scenes ever staged at the Adams. Well done, fight director Christopher DuVal, who also helped stage a beautifully dramatic opening battle.” -- Brian Passey, The Spectrum, July 13, 2015
“Christopher DuVal provides…convincingly swashbuckling sword work as the fight director.” -- Roberta Kent, Ashland Daily Tidings, June 16, 2015
"Christopher DuVal's inventive fight choreography adds to the fun." -- Barbara M. Bannon, Salt Lake Tribune, March 24, 2015
“…a spectacular sword fight…” -- Megan Crivello, Utah Theatre Bloggers Association (utahtheatrebloggers.com), March 24, 2015
"...a dazzling bit of excellent swashbuckling... a great fight sequence on the architectural set." -- Joel Applegate, Front Row Reviewers, March 23, 2015
“The battle scenes are especially exciting…” -- Barbara Bannon, Salt Lake Tribune, July 5, 2014
“Fight choreography ... wins the day, as Christopher DuVal imbues the final combat between Hotspur and Hal, not with heroism and derring-do, but with terrifying urgency. It is a signature production of a great play and not to be missed.” -- Leigh Kennicott, stagehappenings.com, 2014
“…the sword fight… was, by far, the most exhilarating sword fight I’ve ever seen live on stage. I applaud the fight director, Christopher DuVal, for finishing the play with a fight that was much more interesting and exciting than many of the fights that I see on television or in movies.” -- Russell Warner, Utah Theatre Bloggers Association (utahtheatrebloggers.com), September 25, 2012
Acting:
“…Christopher DuVal's performance as Francis Henshall as Harlequin, which involves, through a number of improvisational elements, a great deal of control over the execution of the show.” -- Danny Bowes, Salt Lake City Weekly, November 5, 2014
“DuVal creates a character that is impossible to ignore and even harder to avoid becoming completely entranced by.” -- Aaron Clark, Daily Utah Chronicle, November 7, 2014
“DuVal excelled at comic timing. There were several moments of breaking the fourth wall and entering into improvisation, and I felt that these were some of the best moments of the evening. I also truly enjoyed his physical comedy, being able to manipulate his body in order to bring a higher level of amusement to the audience.” -- Maren Scriven, Utah Theatre Bloggers Association (utahtheatrebloggers.com), November 3 2014
"The villain of Much Ado is the hardest to get right. Don John, the prince’s morose and slightly evil brother, is often flat. But Christopher DuVal gives John’s machinations to ruin Claudio and Hero’s happiness sophistication and roots his villainy in intellectual superiority and a lack of recognition rather than pettiness." -- Megan Crivello, Utah Theatre Bloggers Association, February 24, 2014
"Fortunately, director J.R. Sullivan has found the perfect comedy actors...." -- Richard Connema, Talkin' Broadway, 2005
"In the difficult small role of Roderigo, the love-struck gentleman whose fixation on Desdemona is manipulated by Iago, Christopher DuVal makes a strong impression; he's a fool, certainly, but a harmless fool, and Iago's corruption of his trust is as heartbreaking as his destruction of Othello's fledgling love with Desdemona." -- David Templeton, Bohemian.com, June 18, 2008
"Particularly beguiling is Christopher DuVal as the rogue Autolycus: Cavorting about the stage and even leaping off to tease audience members, he is a sly and mischievous delight." -- Jean Schiffman, Backstage, March 14, 2006
"...Christopher DuVal as Autolycus, 'a rogue,' truly shines in the production. His showstopping scene at the opening of Act Two is a highlight of the staging." -- Milton W. Hamlin, Seattle Gay Times, March 10, 2006
"Ray Porter (both Antipholus roles) and Christopher DuVal (both Dromios’) are outstanding in each of their double roles, switching dialect, mannerisms, and expressions in a seamless display of comic acting...." -- TCM Reviews
“…Christopher DuVal's performance as Francis Henshall as Harlequin, which involves, through a number of improvisational elements, a great deal of control over the execution of the show.” -- Danny Bowes, Salt Lake City Weekly, November 5, 2014
“DuVal creates a character that is impossible to ignore and even harder to avoid becoming completely entranced by.” -- Aaron Clark, Daily Utah Chronicle, November 7, 2014
“DuVal excelled at comic timing. There were several moments of breaking the fourth wall and entering into improvisation, and I felt that these were some of the best moments of the evening. I also truly enjoyed his physical comedy, being able to manipulate his body in order to bring a higher level of amusement to the audience.” -- Maren Scriven, Utah Theatre Bloggers Association (utahtheatrebloggers.com), November 3 2014
"The villain of Much Ado is the hardest to get right. Don John, the prince’s morose and slightly evil brother, is often flat. But Christopher DuVal gives John’s machinations to ruin Claudio and Hero’s happiness sophistication and roots his villainy in intellectual superiority and a lack of recognition rather than pettiness." -- Megan Crivello, Utah Theatre Bloggers Association, February 24, 2014
"Fortunately, director J.R. Sullivan has found the perfect comedy actors...." -- Richard Connema, Talkin' Broadway, 2005
"In the difficult small role of Roderigo, the love-struck gentleman whose fixation on Desdemona is manipulated by Iago, Christopher DuVal makes a strong impression; he's a fool, certainly, but a harmless fool, and Iago's corruption of his trust is as heartbreaking as his destruction of Othello's fledgling love with Desdemona." -- David Templeton, Bohemian.com, June 18, 2008
"Particularly beguiling is Christopher DuVal as the rogue Autolycus: Cavorting about the stage and even leaping off to tease audience members, he is a sly and mischievous delight." -- Jean Schiffman, Backstage, March 14, 2006
"...Christopher DuVal as Autolycus, 'a rogue,' truly shines in the production. His showstopping scene at the opening of Act Two is a highlight of the staging." -- Milton W. Hamlin, Seattle Gay Times, March 10, 2006
"Ray Porter (both Antipholus roles) and Christopher DuVal (both Dromios’) are outstanding in each of their double roles, switching dialect, mannerisms, and expressions in a seamless display of comic acting...." -- TCM Reviews