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https://theatredaemon.blog.hu/2023/03/31/guide_to_performances_in_april_611
GUIDE TO PERFORMANCES IN APRIL 2023
2023-03-31T16:54:20+02:00
2023-03-31T16:54:20+02:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://ak6.picdn.net/shutterstock/videos/7909276/thumb/1.jpg" alt="Image result for girl chewing pen pictures" /></p>
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<p><strong>Here is your guide to the performance options in April 2023.</strong></p>
<p><strong>Entries are arranged by theater or venue. All shows begin at 7pm unless otherwise noted.</strong></p>
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<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
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<p>This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.</p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Kataln Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>Apr. 4</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Tibor Szolár) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! <strong>Apr. 13 (3pm), 14 (6pm)</strong></p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When seventh-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>Apr. 5 (6pm), 6 (6pm)</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A Pendragon-legenda </em></strong>[The Pendragon Legend] It is difficult to get a seat in the tiny and ornate Kálmán Imre Teátrum (entrance off the buffet), but if you are a fan of WTF theatre, this is a must-see. When adapting Antal Szerb’s mystical-comic-thriller-parody novel (available in English), creators Adrián Kovács and Attila Galambos tossed in some operetta confection, some darkly iconoclast musical numbers, and some Harry Potter (or is it Star Wars?) to create a mind-bending clash of styles. Still, the music is competent, and the performers are touchingly committed to this truly bonkers spectacle. If some aspects of the production seem cheap, just wait for the eye-popping Black Mass finale. All in all, it is an unbelievable experience. <strong>Apr. 21, 22, 23</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Network </em></strong>Typical of the trend to transplant a successful film onto the stage, the direction here is slick and impressive, and the material still feels very topical. Nevertheless, the actors (with the exception of Zsolt László) fail to put their own stamp on the characters, and star Róbert Alföldi comes nowhere near the intensity of Peter Finch in the iconic leading role. Best to watch the original, classic film from 1976. <strong>Apr. 12, 13, 24, 25, 28</strong></p>
<p><strong><em>Öröm és boldogsáa </em></strong>[Joy and Happiness] This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. (studio space, guest production from Budaörsi Latinovits Színház) <strong>Apr. 11 (7:30pm)</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>Apr. 12 (4pm, 7pm), 16 (3pm, 7pm), 17 (5pm, 8pm), 18 (5pm, 8pm), 19 (5pm, 8pm), 20 (5pm, 8pm), 22 (3pm, 7pm)</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>Apr. 22 (3pm)</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>Apr. 22</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>Apr. 4 (8pm)</strong></p>
<p><strong><em>Lenni vagy nem </em></strong>[To Be or Not…] Playwright Sári O. Horváth captures modern-day existence like few other authors in Hungary. In this production from Szeged, featuring a cast of seven women and one man, she explores the pressures to become a mother and raise a family. The lone male figure is immune to this pressure and takes no responsibility for his mostly cavalier treatment of the women. Despite a lackluster start, the direction provided by Kristóf Widder was serviceable, yet nothing brilliant. Gábor Róbert seemed lost in his role as the philandering Dr. Király, but several of the actresses (particularly the older women) had stellar moments. <strong>Apr. 28</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>Apr. 21 (6pm), 28 (6pm)</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>Apr. 10</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p>For a considerable period, Katona was considered the best theatre in Budapest, and it still holds plenty of prestige. It boasts a number of subscribers, and that often makes buying tickets there challenging.</p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>Apr. 27</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's second piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>Apr. 11</strong></p>
<p><em><strong>Hedda Gabler </strong></em><em>Henrik Ibsen’s enigmatic anti-heroine receives a stripped-down, minimalist production here. The stage movement is heightened and non-realistic, but Kriszta Székely (who successfully adapted Ibsen’s </em><em>A Doll’s House </em><em>at the same theater) has a very insightful vision of this play. The cast is strong overall, and Adél Jordán throws herself passionately into the title role. <strong>Apr. 5, 8, 26</strong></em></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>Apr. 2</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs és a sárkánylány </em></strong>[Locspocs the Sea Monster and the Dragon Girl] <strong><em> </em></strong>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>Apr. 23 (10am), 24 (10am)</strong></p>
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<h2><strong>Magyar Állami Operaház (Hungarian State Opera House)</strong></h2>
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<p>What is going on at the Opera House? Since the renovation, many have been quick to note how cramped the seats are in the top balcony, and then there was a steep price hike, basically punishing patrons unwilling to pay extra for comfortable seating (a classic example of Piketty economics). Then, lately, there have been a string of premieres that seemed either amateurish in their execution or downright incompetent. The general manager, Szilveszter Ókovács, has proved a good leader in the past, but has he lost interest? Or is he taking on too much? Has he surrounded himself with yes-men who give him no critical feedback?</p>
<p><strong><em>Elektra </em></strong> Balázs Koválik’s bold direction of Richard Strauss’s aggressive opera (which premiered in 2007) sets the Ancient Greek tragedy in the castle’s common bath facility. Visually, this kooky idea works well and does not hinder the performers. This outing features some great singers – for example, Atala Schöck as Clytemnestra and Gábor Bretz as Orestes. Best of all, Szilvia Rálik gives a world-class performance in the title role. Highly recommended! <strong>Apr. 27 (6pm) [dress rehearsal], 29</strong></p>
<p><strong><em>István, a király </em></strong>[Stephen, the King] Octogenarian director Miklós Szinetár drains all that was cool out of the infectious rock musical from 1983. Granted, this account of Hungary’s founder uniting the nation under Christianity played much differently during the waning years of Communism, but here the production lays the religion on thick. The opera singers are badly equipped to handled this style of music, and King Stephen comes off very milquetoast. For better or worse, the pagan rebel Koppány emerges as far more sympathetic. Not recommended! <strong>Apr. 22, 26, 28, 30</strong></p>
<p><strong><em>Parsifal </em></strong>Every Easter, the opera house trots out this production of Wagner’s war-horse opera. The staging and singers are adequate, the highlight being the psychedelic scene with the flower ladies in Act Two. Yet, this is definitely not for opera beginners. I recommend some heavy meditation or a sedative before viewing. <strong>Apr. 5 (4pm) [dress rehearsal], 7 (5pm), 9 (5pm), 14 (5pm)</strong></p>
<p><strong><em>Pomádé kiráy ú ruhája </em></strong>[The Emperor’s New Clothes] Despite an eye-catching moment here and there, this children’s opera, composed by György Ránki, did not capture my imagination. The emperor seems to have no love for clothes besides being bored and needing a distraction. The other characters, especially the pair of swindlers, seriously lack definition. The music is often repetitive and surprisingly noisy (i.e., dissonant). It is difficult to imagine a young viewer falling in love with opera on account of this piece. <strong>Apr. 15 (11am), 22 (11am)</strong> </p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Otthon </em></strong>[At Home] The Dollar Company’s modern adaptation of Strindberg’s rarely-staged family drama <em>The Pelican</em> fearlessly mines the deeper currents of this disturbing work. The four actors perform in a dance rehearsal room with seating on three sides, while the mirrored fourth wall pitilessly exposes all of their tics and gestures. Instead of being mere evil villains, Tamás Ördög (also the director) and Krisztina Urbanovits leave subtle clues as to what motivates their monstrous behavior. My one small complaint is that Emőke Kiss-Végh seemed too strong and self-aware as the daughter. It is hard to imagine her being a passive victim. <strong>Apr. 16 (7:30pm)</strong></p>
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<h2><strong>Örkény István Színház (István Örkény Theater)</strong></h2>
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<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>Apr. 11</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>Apr. 25</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>Apr. 5</strong></p>
<p><strong><em>Cím nélkül</em></strong> [Addressless] Much after the model of <em>Sociopoly</em>, this interactive play divides the audience into three teams, then has them live out the winter months in Budapest as a homeless individual. The actors (Zola Szabó and Mária Kőszegi) are talented and versatile, playing a variety of roles with a narrator to move the game along and the participation of an actual homeless man (Gyula Balog) to keep the scenes authentic.<strong> English version also available. </strong>Highly recommended! (studio space) <strong>Apr. 16</strong></p>
<p><strong><em>Édes Anna </em></strong>[Sweet Anna] Dezső Kosztolányi’s slim, splendid 1926 novel about an enigmatic, long-suffering, and ultimately homicidal serving maid seems perfect for a creative stage adaptation, but director Zita Szenteczki and dramaturge Bence Biró trot out all the dull and tired modern techniques. The result is not illuminating in the slightest, and none of the talented actors manage to capture what was so fascinating about these characters on the page. Best to read the book, which is available in English translation. (studio space) <strong>Apr. 3</strong></p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. <strong>Apr. 1, 2</strong></p>
<p><strong><em>Liliom </em></strong>Director Dániel D. Kovács’s modern spin on Ferenc Molnár’s metaphysical tragicomedy (best known in the English-speaking world as the musical <em>Carousel</em>) does not lose sight of the humor, although its conclusion strikes me as more depressing. The after-life sequence can seem corny nowadays, but here it is handled in a surreal way. Nonetheless, if it is all a hallucination, then there is nothing at stake when Liliom returns to Earth to redeem himself. The cast is very strong. Márton Patkos is a good fit for this role, where he can channel his manic energy. He is well matched by Bettina Józsa in the role of his suffering wife Juli<strong>.</strong> Her controversial final scene is handled very enigmatically. In preserving her husband’s memory, is she acting heroically, or is it a sign that she will never recover from the emotional damage? <strong>Apr. 29</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>Apr. 24</strong></p>
<p><strong><em>Secondhand </em></strong>– This Soviet etude about Russia identity, which premiered in 2018, could not be more timely; and since it is based on the writings of Svetlana Alexevich, the source is authentic. The show is cohesive, thanks to a clever unifying concept, as well as the ingenious use of props and a mountain of cast-off clothing. The dizzying array of styles and genres can be baffling, but the cumulative effect is astounding. It is definitely not easy to understand, but if your language skills are up for the challenge, it is highly recommended. <strong>Apr. 14</strong></p>
<p><strong><em>Solness </em></strong>[The Master Builder] Director Ildikó Gáspár’s intimate take on this late, enigmatic play by Ibsen is very rewarding. It also features a bold soul-bearing and self-critical performance by Pál Mácsai, the theatre’s manager who is rumored to be reluctant to surrender his post (just as Solness is unwilling to pass the torch to a brilliant young colleague played by actor-director Csaba Polgár). There are some modern touches here and there, some updating; yet, overall, this is a reverent staging of the original. It challenged my preconceptions about this play and left me asking questions, in a good way. (studio space) <strong>Apr. 29</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>Apr. 4</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>A Nyugat császára </em></strong>[Playboy of the Western World] Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three, with a dynamite fight sequence. <strong>Apr. 23 (5pm)</strong></p>
<p><strong><em>Macska a forró bádogtetőn </em></strong>[Cat on a Hot Tin Roof] Péter Valló is no stranger to directing Tennessee Williams, and this new production is certainly over the top. At times, it seems like a violent episode of from the Real Housewives TV franchise. He also shows a strong dislike of closure and clear endings. Both acts end in a bewildering way, like a random cut. Yet, there are also gorgeous stage pictures and simple special effects reminiscent of old-timey theatricality. The entire cast, down to the bit players, pours their energy into the show. Hopefully, in the coming months, they will find the right balance. This production shows great promise. <strong>Apr. 12, 15, 30 (2:30pm)</strong> </p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>Hitler ABBA-t énekel </em></strong>[Hitler Sings ABBA] The third (and unrelated) installment of Sári O. Horváth’s <em>Life Trilogy </em>is a head-scratcher, combining as it does Hitler’s <em>Lebensbon </em>program with a chance encounter between Angela Merkel and singer Anni-Frid Lyngstad. The plot may seem thin, but the actors are engaging and committed. It may be difficult to tell what happens, but the experience certainly sticks with you. <strong>Apr. 2, 20</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>Apr. 10, 11</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>A Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>Apr. 29</strong></p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>Apr. 20</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>Apr. 23 (3pm)</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>Apr. 11 (7:30pm)</strong></p>
<p><strong><em>Pilinszky János és Sheryl Sutton </em></strong>[János Pilinszky and Sheryl Sutton] Based mainly on a letter correspondence, this piece attempts to recreate the real-life relationship between intellectual Hungarian poet János Pilinszky and black American actress Sheryl Sutton. Here, she nurses him back to health while they chat about various artistic and philosophical matters. Not much happens, not much is revealed, but it could be entertaining if you are fascinated by either of these figures. <strong>Apr. 27 (7:30pm)</strong></p>
<p><strong><em>Szomjás férfiak isznak helyettem</em></strong> [Thirsty Men Drink Instead of Me] This lively cabaret featuring four distinctive actresses (directed by actor Zsolt Mathé of the Örkény Company) attempts to crystallize the experiences of contemporary Hungarian women. Along the way there are some pearls of comedy, but not enough dramaturgical string to hold it together. <strong>Apr. 3 (7:30pm)</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>Apr. 4 (7:30pm), 12 (7:30pm)</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>Apr. 16 (11am)</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>Apr. 23</strong></p>
<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>Apr. 1, 2</strong></p>
<p><strong><em>Bányavakság</em></strong> [Mine Blindness] The second (and most satisfying) installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania focuses on politics, scandal, and blackmail, topped off with a dollop of ethnic tension and violence. The misery may seem a bit overdone by the end, but Gergő Kaszás is spectacular in the lead role. <strong>Apr. 6</strong></p>
<p><strong><em>Bányavíz</em></strong> [Mine Water] The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible. <strong>Apr. 12</strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>Apr. 11</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Nagymamával álmodtam </em></strong>[I Dreamed of Grandma] In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. <strong>Apr. 18 (8pm), 23 (8pm)</strong></p>
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<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
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<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>Apr. 8</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Az élet kapuja </em></strong>[The Gateway of Life] Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s elegant dramaturgy. Instead we get a pandering piece about a Hungarian delegation to Rome in 1512 and political intrigues with Pope Julius II, played well by Ottó Viczián. All in all, though, this seems to be a vanity project on the part of the theater’s manager, György Dönner, who cast himself as the clever cardinal protagonist. <strong>Apr. 21, 22</strong></p>
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<h2><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></h2>
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<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>A 42. hét</em></strong> [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended! <strong>Apr. 24, 25</strong></p>
<p><strong><em>Anyaszemefénye </em></strong>[The Glimmer in Mom’s Eye] For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ervin Nagy from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?” <strong>Apr. 14, 15</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>Apr. 20</strong></p>
<p><strong><em>Parasztopera</em></strong> [Peasant Opera] Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see! <strong>Apr. 5</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>Apr. 3, 4</strong></p>
<p><strong><em>Tündöklő középszer</em></strong> [Dazzling Mediocre] An altogether lighter offering by Béla Pintér, this exercise in self-parody focuses on the petty internal conflicts of an independent theatre company in Budapest, but there is plenty of heart-wrenching humor to be found. Pay attention to the play-within-a-play written by the dim-witted impresario Géza. It could be the great absurd drama the actual author has yet to write. Recommended for confirmed Pintérites. <strong>Apr. 6, 7</strong></p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. <strong>Apr. 26, 28</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>Apr. 21, 22</strong></p>
<p><strong><em>A kastely </em></strong>[The Castle] In this slapstick adaptation of Kafka’s work, some of director Vikto Bodó’s usual craziness is on display. Some bits seem over-extended, and he brings in his trademark fascination with drug use. Still, the show is quite accessible, the set and video effect are striking, and Attila Vidnyánszky, Jr.’s performance is nothing short of acrobatic. This version is not sentimental. It has an Eastern European sense of acerbic bitterness. Plus, the protagonist is K is already degraded and emasculated at the midway point. He has nowhere to go but down. Does he finally reach the castle? It is arguable. The concluding scenes ring deliberately hollow; yet, there is beauty here. If it is all a delusion, it is a seductive and appealing one. <strong>Apr. 1, 13, 14</strong></p>
<p><strong><em>A nagy Gatsby </em></strong>[The Great Gatsby] Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. Nonetheless, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. <strong>Apr. 2 (2:30pm, 7pm), 19</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>Apr. 4, 15 (2:30pm, 7pm), 18, 30 (2:30pm, 7pm)</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>Apr. 15 (7:30pm)</strong></p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has ordered the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. <strong>Apr. 20 (3pm)</strong></p>
<p><strong><em>Csáth és démonai </em></strong>[Csáth and His Demons] The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. (studio space) <strong>Apr. 4 (7:30pm)</strong></p>
<p><strong><em>Szeget Szeggel </em></strong>[Measure for Measure] Shakespeare’s little-seen problem comedy is astoundingly provocative still today; yet director (and the theatre’s manager) Péter Rudolf deploys a bewildering mix of styles, which renders the theatre language incomprehensible. Is this a drama, a circus, a satire, a goofy comedy? Also, his choice to put ‘audience members’ onstage fails to pack a punch. Béla Festbaum steals the show as the buffoonish constable Elbow. Luca Márkus brings impressive pathos to the lead role of Isabella. Yet, the other leads fall short, mostly turning in superficial portrayals. Especially disturbing is Zsombor Kövesi in the role of the comic petty criminal Pompey. While he is clearly a talented performer, he is the only character who speaks with a Roma accent. This is a disgusting choice. <strong>Apr. 12, 28</strong> </p>
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<p><em><span>See you at the theatre!</span></em></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2023/01/09/guide_to_performances_in_january_148
GUIDE TO PERFORMANCES IN JANUARY 2023
2023-01-09T15:24:31+01:00
2023-01-09T15:24:31+01:00
Patrick Mullowney
https://blog.hu/user/1314065
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<p><img src="https://m.blog.hu/th/theatredaemon/image/00e98bf6b35b971c9422cabd4cf7803e.jpg" width="482" height="321" /></p>
<h2><strong>Here is your guide to the performance options in January 2023.</strong></h2>
<h2><strong>Entries are arranged by theater or venue.</strong></h2>
<h2><strong>All shows begin at 7pm, unless otherwise noted.</strong></h2>
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<p><strong>A new year, new resolutions. I hope to bring the blog up-to-date.</strong><br /><strong></strong></p>
<p><strong>Also, I will feature the most highly recommended shows at the beginning.</strong></p>
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<p><u>TOP TIPS:</u></p>
<p>Solness (Ibsen’s <em>The Master Builder</em>) – István Örkény Theatre</p>
<p>A kastely (Kafka’s <em>The Castle</em>) – Vígszínház (Comedy Theater)</p>
<p>Eltűnő ingerek (Vanishing Senses) – Trafó House of Contemporary Arts</p>
<p>Living the Dream with Grandma – Trafó House of Contemporary Arts</p>
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<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
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<p>This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.</p>
<p><strong><em>Öröm és boldogsáa </em></strong>[Joy and Happiness] This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. <strong>Jan. 5</strong></p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Kataln Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>Jan. 15</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Tibor Szolár) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! <strong>Jan. 13, 14</strong></p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>Jan. 8, 26</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A mosoly országa </em></strong>[The Land of Smiles] East meets West in a romantic clash of cultures in this classic operetta by Ferenc Lehár. The music and sets are great, while some costume and blocking choices are puzzling. Still, if you are looking for a lavish musical with not much plot, this traditional production is recommended. <strong>Jan. 13, 14 (3pm, 7pm), 15 (3pm, 7pm)</strong></p>
<p><strong><em>Marica grófnő</em></strong> [Countess Marica] A traditional and attractive production, this is a fine introduction to the world of operetta and the music of Imre Kálmán; yet, the quality can vary greatly depending on the cast. There are crowd-pleasing romantic duets, comic dance numbers (which are more acrobatic), and even a set piece with an “African dancer” in black body make-up – something hard to find nowadays in our socially-enlightened English-speaking theatre world. <strong>Jan. 20, 21 (3pm, 7pm), 22 (3pm, 7pm)</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Network </em></strong>Typical of the trend to transplant a successful film onto the stage, the direction here is slick and impressive, and the material still feels very topical. Nevertheless, the actors (with the exception of Zsolt László) fail to put their own stamp on the characters, and star Róbert Alföldi comes nowhere near the intensity of Peter Finch in the iconic leading role. Best to watch the original, classic film from 1976. <strong>Jan. 3, 4, 5, 6, 7 (3pm, 7pm)</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>Jan 13, 14 (3pm, 7pm), 15 (3pm, 7pm), 16, 17, 18, 19 (5pm, 8:30pm)</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>Jan. 15 (3pm)</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>Jan. 25 (8pm)</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>Jan. 13 (6pm)</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>Jan. 25</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p>For a considerable period, Katona was considered the best theatre in Budapest, and it still holds plenty of prestige. It boasts a number of subscribers, and that often makes buying tickets there challenging. </p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>Jan. 21</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>Jan. 18</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>Jan. 18</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs és a sárkánylány </em></strong>[Locspocs the Sea Monster and the Dragon Girl] <strong><em> </em></strong>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>Jan. 15 (10am), 16 (10am)</strong></p>
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<h2><strong>Magyar Állami Operaház (Hungarian State Opera House)</strong></h2>
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<p>The Opera House is finally opening after a years-long renovation project. What they restored is lovely, the new touches are arguably hit or miss. I personally dislike the tromp l’oeil painting of curtains around the proscenium. Also, the seating in the top balcony is especially cramped. It may be worth springing for more expensive seats.</p>
<p><strong><em>A denevér </em></strong>[Die Fledermaus] What a great way to ring in the New Year, you might think, with Johann Strauss, Jr.’s elegant Viennese opera. Don’t fall for the trap! The lifeless direction by Miklós Szinetár sucks every iota of life out of the sparkling piece. The result is flat champagne left out overnight during a rainstorm. <strong>Jan. 8, 11, 13, 15</strong></p>
<p><strong><em>Pomádé kiráy új ruhája </em></strong>[The Emperor’s New Clothes] Despite an eye-catching moment here and there, this children’s opera, composed by György Ránki, did not capture my imagination. The emperor seems to have no love for clothes besides being bored and needing a distraction. The other characters, especially the pair of swindlers, seriously lack definition. The music is often repetitive and surprisingly noisy (i.e., dissonant). It is difficult to imagine a young viewer falling in love with opera on account of this piece. <strong>Jan. 7 (11am), 14 (11am), 21 (11am) </strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Fedák Sári </em></strong>[Sári Fedák] The best part of this one-woman-show about the life of a celebrated Hungarian diva (who lived from 1879 to 1955) is the charming and ebullient performance by Nelli Szűcs. However, the script leaves plenty of unanswered questions and does not delve into the most fascinating aspects of her life. Afterwards, I felt that I had barely learned anything about her. <strong>Jan. 25 (7:30pm)</strong></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] Norwegian director Eirik Stubø’s understated staging of Tennessee William’s popular play is quite effective with disarming performances by Eszer Ács as Laura and Andrea Söptei as Amanda. The latter does not come off as a harpy, as in previous incarnations. The big drawback is Sándor Berettyán as Tom, who has absolutely no presence onstage. I can barely recall his performance. <strong>Jan. 31</strong></p>
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<h2><strong>Örkény István Színház (István Örkény Theater)</strong></h2>
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<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>Jan. 21, 27</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>Jan. 18</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>Jan. 22</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>Jan. 25</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>Jan. 24</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>Jan. 18 (7:30pm)</strong></p>
<p><strong>Cím nélkül </strong>[Addressless] Much after the model of <em>Sociopoly</em>, this interactive play divides the audience into three teams, then has them live out the winter months in Budapest as a homeless individual. The actors (Zola Szabó and Mária Kőszegi) are talented and versatile, playing a variety of roles with a narrator to move the game along and the participation of an actual homeless man (Gyula Balog) to keep the scenes authentic.<strong> English version also available. </strong>Highly recommended! (studio space) <strong>Jan. 12 (6:30pm)</strong></p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. <strong>Jan. 2, 3, 14, 15 (3pm)</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>Jan. 27 (7:30pm) </strong></p>
<p><strong><em>Solness </em></strong>[The Master Builder] Director Ildikó Gáspár’s intimate take on this late, enigmatic play by Ibsen is very rewarding. It also features a bold soul-bearing and self-critical performance by Pál Mácsai, the theatre’s manager who is rumored to be reluctant to surrender his post (just as Solness is unwilling to pass the torch to a brilliant young colleague played by actor-director Csaba Polgár). There are some modern touches here and there, some updating; yet, overall, this is a reverent staging of the original. It challenged my preconceptions about this play and left me asking questions, in a good way. (studio space) <strong>Jan. 5 (7:30pm), 6 (7:30pm), 13 (7:30pm), 24 (7:30pm)</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>Jan. 11</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>A Nyugat császára </em></strong>[Playboy of the Western World] Director and freshly appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three, with a dynamite fight sequence. <strong>Jan. 28</strong></p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>Hitler ABBA-t énekel </em></strong>[Hitler Sings ABBA] The third (and unrelated) installment of Sári O. Horváth’s <em>Life Trilogy </em>is a head-scratcher, combining as it does Hitler’s <em>Lebensbon </em>program with a chance encounter between Angela Merkel and singer Anni-Frid Lyngstad. The plot may seem thin, but the actors are engaging and committed. It may be difficult to tell what happens, but the experience certainly sticks with you. <strong>Jan. 13, 28</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>Jan. 20, 21, 31</strong></p>
<p><strong><em>Egy csepp méz </em></strong>[A Taste of Honey] Best known from the classic British film starring Rita Tushingham, the production here catches the spirit of the original play, but does not quite reflect the difficult living conditions in 60s England. Ádám Pörögi is good as Geoffrey, and Adél Kováts shines as the unsympathetic mother, a tragic figure in her own right. Blanka Mészáros, as the heroine, failed to make an impression. <strong>Jan. 13</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>Jan. 13</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>Jan. 10 (7:30pm)</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>Jan. 19 (7:30pm)</strong></p>
<p><strong><em>Pilinszky János és Sheryl Sutton </em></strong>[János Pilinszky and Sheryl Sutton] Based mainly on a letter correspondence, this piece attempts to recreate the real-life relationship between intellectual Hungarian poet János Pilinszky and black American actress Sheryl Sutton. Here, she nurses him back to health while they chat about various artistic and philosophical matters. Not much happens, not much is revealed, but it could be entertaining if you are fascinated by either of these figures. <strong>Jan. 15 (7:30pm)</strong></p>
<p><strong><em>Szomjás férfiak isznak helyettem</em></strong> [Thirsty Men Drink Instead of Me] This lively cabaret featuring four distinctive actresses (directed by actor Zsolt Mathé of the Örkény Company) attempts to crystallize the experiences of contemporary Hungarian women. Along the way there are some pearls of comedy, but not enough dramaturgical string to hold it together. <strong>Jan. 18 (7:30pm)</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>Jan. 26</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>Jan. 30 (7:30pm)</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Nagymamával álmodtam </em></strong>[Living the Dream with Grandma] In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. <strong>Jan. 18 (8pm)</strong></p>
<p><strong><em>Eltűnő ingerek </em></strong>[Vanishing Senses] This semi-autobiographical play by Andrea Pass deploys a broad array of theatricality to tell the semi-autobiographical tale of her father, a journalist who suffered a debilitating stroke. Not only does it chronicle the effect of his physical collapse on his family, but also revisits scenes from his life as his mental capacities disintegrate. The performances are striking. Not all of the onstage effects succeed, but the ambitious storytelling is awe-inspiring. <strong>Jan. 19 (8pm), 20 (8pm)</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>Jan. 28</strong></p>
<p><strong><em>Az élet kapuja </em></strong>[The Gateway of Life] Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s elegant dramaturgy. Instead we get a pandering piece about a Hungarian delegation to Rome in 1512 and political intrigues with Pope Julius II, played well by Ottó Viczián. All in all, though, this seems to be a vanity project on the part of the theatre’s manager, György Dönner, who cast himself as the clever cardinal protagonist. <strong>Jan. 14, 15 (3pm)</strong></p>
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<h2><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></h2>
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<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>42. hét</em></strong> [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended! <strong>Jan. 23 (8pm), 24</strong></p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable. <strong>Jan. 16 (8pm), 17</strong></p>
<p><strong><em>A demon gyermekei </em></strong>[The Devil’s Children] The focus of Béla Pintér’s one-act is once again a miserable family, only here the household tyrant is the mother (played fearlessly by the author). Plenty of gender bending (for example, Zoltán Friedenthal’s excellent portrayal of Mónika) and a Japanese setting keep things interesting. The resolution, however, seems rushed, leaving us wishing for more. <strong>Jan. 26 (8pm), 27</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>Jan 25 (8pm)</strong></p>
<p><strong><em>Tündöklő középszer</em></strong> [Dazzling Mediocre] An altogether lighter offering by Béla Pintér, this exercise in self-parody focuses on the petty internal conflicts of an independent theatre company in Budapest, but there is plenty of heart-wrenching humor to be found. Pay attention to the play-within-a-play written by the dim-witted impresario Géza. It could be the great absurd drama the actual author has yet to write. Recommended for confirmed Pintérites. <strong>Jan. 11, 12</strong></p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our recent pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. <strong>Jan. 28</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>Jan. 14</strong></p>
<p><strong><em>A kastely </em></strong>[The Castle] In this slapstick adaptation of Kafka’s work, some of director Viktor Bodó’s usual craziness is on display. Some bits seem over-extended, and he brings in his trademark fascination with drug use. Still, the show is quite accessible, the set and video effect are striking, and Attila Vidnyánszky, Jr.’s performance is nothing short of acrobatic. This version is not sentimental. It has an Eastern European sense of acerbic bitterness. Plus, the protagonist K is already degraded and emasculated at the midway point. He has nowhere to go but down. Does he finally reach the castle? It is arguable. The concluding scenes ring deliberately hollow; yet, there is beauty here. If it is all a delusion, it is a seductive and appealing one. <strong>Jan. 7, 8 (2:30pm), 25, 26</strong></p>
<p><strong><em>A nagy Gatsby </em></strong>[The Great Gatsby] Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. Nonetheless, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. <strong>Jan. 12, 13</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged quite symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>Jan. 3 (2:30pm, 7pm), 4 (2:30pm, 7pm), 5, 15 (3pm, 7pm) </strong> </p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>Jan. 13 (7:30)</strong></p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has ordered the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. <strong>Jan. 24</strong> </p>
<p><strong><em>Csáth és démonai </em></strong>[Csáth and His Demons] The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. (studio space) <strong>Jan. 11 (7:30pm)</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>Jan. 18</strong></p>
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<p><strong><em>See you at the theatre!</em> </strong></p>
<p><span> </span></p>
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GUIDE TO PERFORMANCES IN MARCH 2022
2022-03-11T05:08:34+01:00
2022-03-11T05:08:34+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><strong><img src="https://m.blog.hu/th/theatredaemon/image/576d3d4c83912a195c9f124f5531e841.jpg" width="625" height="368" /></strong></p>
<p><b>The Hungarian State Opera House is due to reopen.</b></p>
<p><b>Here is a photo from their production of <em>Die Frau Ohne Schatten.</em></b></p>
<p> </p>
<p> </p>
<h2><strong></strong><strong>Here is your guide to the performance options in March 2022.</strong></h2>
<h2><strong>Entries are arranged by theater or venue. Most shows begin at 7pm, unless otherwise noted.</strong></h2>
<p> </p>
<p><em>In terms of this blog, it has become a time for soul-searching again. I am sure the guide provides a great help to English-speakers or foreigners trying to navigate the Budapest theatre scene. However, I cannot visit every venue or see nearly all the new productions that I would like to review. Also, there are some theaters and productions that are not to my taste, and I cannot bring myself to see them unless my ticket is free. With all that in mind, here are my very subjective tips on performances in March 2022.</em></p>
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<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
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<p>This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.</p>
<p><strong><em>Öröm és boldogsáa </em></strong>[Joy and Happiness] This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. <strong>March 1, 25</strong></p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] The production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Kataln Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>March 11, 23</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Tibor Szolár) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! <strong>March 7 (3pm), 19 (6pm)</strong></p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>March 17 (7pm), 18 (6pm)</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Ma Este Felnövünk </em></strong>[Groan Ups] This commercial comedy is competently staged, but a little dull at times when not veering into melodrama. We see the cast as children, then as adults when they meet again at a reunion. The centerpiece of the drama is a coming-out that does not quite add up. <strong>March 5, 6, 8, 13, 18, 26 (3pm and 7pm) </strong></p>
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<h2><strong>Eiffel Műhelyház (Eiffel Opera – Locomotive Hall)</strong></h2>
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<p>This out of the way venue has been hosting an increased number of big productions while the State Opera House is still under renovation. Don’t be afraid to make the journey out to this unique setting for opera.</p>
<p><strong><em>Pelléas ét Mélisande </em></strong>I am a huge fan of Debussy’s opera, but despite an evocative opening tableau, Kirsten Delholm’s static, modern direction does little more than make the symbolism painfully obvious and suck all dramatic potential out of the scenario. The child’s solo scene is here, which is rarely staged, but the all-important night scene with the sunken ship is cut. The performers who managed to inject life into their characters (at the performance I viewed) were István Kovács as the jealous baritone and Péter Fried as the older, ailing king. Zsolt Haja as the romantic Pelléas was as dull as soggy white bread. Polina Pasztircsák was appealing as Mélisande, but seemed to lack guidance. There is plenty more to this enigmatic role. The lighting was too dark and did not improve until the curtain call. Also, keep in mind that the original lush score is played by a chamber orchestra in this production. <strong>March 4 (8pm), 6 (11am), 12 (7pm)</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
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<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>A cigánybáró</em></strong> [The Gypsy Baron] Wisely setting this operetta by Johann Straus, Jr., in a carnival atmosphere, director Miklós Szinetár can be just as pastel and chintzy as he wants. Yet, with the story-book projection during the overture, it becomes clear that this is to be a lesson about Hungary’s culturally diverse past and the benefits of multiculturalism. To this end, he has András Hábleter play an obnoxious and largely superfluous narrator, who then must justify his presence onstage with distracting business. A final dance to “The Blue Danube” also underlines the message. Overall, though, the production is as whimsical as children’s theatre. It is far too fluffy to support social commentary, no matter how well-intentioned. <strong>March 4 (6pm)</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>March 4 (7:30pm), 22 (7:30pm)</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>March 30</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>March 16 (8pm)</strong></p>
<p><strong><em>Lenni vagy nem </em></strong>[To Be or Not…] Playwright Sári O. Horváth captures modern-day existence like few other authors in Hungary. In this production from Szeged, featuring a cast of seven women and one man, she explores the pressures to become a mother and raise a family. The lone male figure is immune to this pressure and takes no responsibility for his mostly cavalier treatment of the women. Despite a lackluster start, the direction provided by Kristóf Widder was serviceable, yet nothing brilliant. Gábor Róbert seemed lost in his role as the philandering Dr. Király, but several of the actresses (particularly the older women) had stellar moments. <strong>March 26 (8pm)</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>March 25 (6pm)</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in Act One) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>March 21</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>March 25</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>March 9, 30</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>March 13</strong></p>
<p><strong><em>A fehér szalag </em></strong>[The White Ribbon] Accomplished dramaturge and actress Éva Enyedi was inspired to bring Michael Haneke’s 2009 black-and-white film to the stage, but it plays like an effort in futility. Despite the stark color palette, she is unable to achieve the atmospheric effect of the cinematography, and the medium of theatre does not allow the sort of subtle characterization one can achieve in film. With practically all the actors at least double cast (most playing an adult and a child), figuring out the relationships, let alone the plot, is an ordeal. I think I know what happened, kinda, but how should I feel about it? <strong>March 11, 26</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>March 26 (3pm)</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs és a sárkánylány </em></strong>[Locspocs the Sea Monster and the Dragon Girl] <em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>March 18 (10am), 19 (3pm), 20 (10am), 21 (10am)</strong></p>
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<h2><strong>Magyar Állami Operaház (Hungarian State Opera House)</strong></h2>
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<p>The Opera House is finally opening after a years-long renovation project. Until I am inside the building, it is difficult to report on the outcome. Suffice it to say, they are opening with a new production of a classic national opera (<em>László Hunyadi </em>by Ferenc Erkel), meant to show off the technical capabilities of the new stage. Also featured this month is the ambitious ballet <em>Mayerling </em>and the sprawling opera <em>Die Frau ohne Schatten </em>by Richard Strauss. I base my review of the latter on the production I saw prior to the renovation.</p>
<p><strong><em>Az arnyék nélküli asszony </em></strong>[Die Frau ohne Schatten] <em> </em>This epic, genre-defying opera is bonkers, and director János Szikora strikes the right tone. Far from stealing the focus, the use of video clips illuminates the themes, helps establish the settings (which bounce between reality and fantasy), and provides a close-up of the dramatic soprano at a key point. (This is highly effective when paired with the inspired performance of Szilvia Rálk as the Dyer’s Wife.) The duet between the Empress and the Nanny is also a high point. Even if some of the special effects fall a bit flat, the overall look is pleasing and impressive. There is also great re-purposing of costumes from Balázs Koválik’s earlier production of <em>Mefistofele. </em>If you are up for the zany, meandering story line, I recommend this wild ride. <strong>March 18 (6pm), 20 (6pm), 25 (6pm), 31 (6pm)</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>March 27 (3pm)</strong></p>
<p><strong><em>Rómeó és Júlia </em></strong>[Romeo and Juliet] Whereas the costuming and sets are traditional, the outcome is derivative and dull. The leads are attractive, but lack chemistry, and there is an overall dearth of excitement and passion. Some of the older members of the company give fine turns as Friar Lawrence, Lord Capulet, and Juliet’s Nurse; still, they cannot save the show. <strong>March 7 (6pm), 8 (6pm), 9 (6pm)</strong></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] Norwegian director Eirik Stubø’s understated staging of Tennessee William’s popular play is quite effective with disarming performances by Eszer Ács as Laura and Andrea Söptei as Amanda. The latter does not come off as a harpy, as in previous incarnations. The big drawback is Sándor Berettyán as Tom, who has absolutely no presence onstage. I can barely recall his performance. <strong>March 13, 14</strong></p>
<p><strong><em>Vitéz lélek</em></strong> [Valiant Soul] One of Áron Tamási’s lesser-known plays, it receives a lavish production here with well-conceived set and lighting designs. Typical of the author, it mixes pastoral realism and fairy-tale, but the construction is somewhat lopsided. Actor Lajos Ottó Horváth must single-handedly bear enough tragedy for two plays (or one Calderón drama) in the last act, but he does so admirably. At the end, a hymn resounds, as though we are inside a large organ, no doubt to underscore the roots of Hungarian Catholicism in rural Transylvania. <strong>March 24</strong></p>
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<h2><strong>Örkény István Színház (István Örkény Theater)</strong></h2>
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<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>March 2, 19</strong></p>
<p><strong><em>A legyek </em></strong>[The Flies] This scaled-down staging of Jean-Paul Sartre’s take on the evergreen tale of Electra is visually arresting, and it deftly evokes the collective guilt of a community haunted by crimes that go unpunished. Zsolt Nagy, as Jupiter, proves again that he is good in superhuman roles. Still, despite good performances, the show fails to convey the tragic downfalls of its main characters, lacking the epic sweep of the Frenchman’s original vision. <strong>March 11 (7:30pm)</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>March 8</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>March 31 </strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>March 14</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>March 10</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>March 8 (7:30pm)</strong></p>
<p><strong><em>Édes Anna </em></strong>[Sweet Anna] Dezső Kosztolányi’s slim, splendid 1926 novel about an enigmatic, long-suffering, and ultimately homicidal serving maid seems perfect for a creative stage adaptation, but director Zita Szenteczki and dramaturge Bence Biró trot out all the dull and tired modern techniques. The result is not illuminating in the slightest, and none of the talented actors manage to capture what was so fascinating about these characters on the page. Best to read the book, which is available in English translation. <strong>March 3</strong></p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. <strong>March 13</strong></p>
<p><strong><em>Macbeth </em></strong>– The framing device for this take on the Scottish Play is a museum exhibit of a crown, before the four security guards/tour guides begin re-enacting the events of the play. The highlight for me was the banquet scene, held in the lobby of the space, where we were treated to water and <em>pogácsa </em>(little savory biscuits) while Mr. and Mrs. Macbeth sang a popular number from the operetta <em>Queen of the Csardás. </em>Still, for native English speakers, this version will not add much to your appreciation of the original. (studio space) <strong>March 10 (7:30pm)</strong></p>
<p><strong><em>Secondhand </em></strong>– This Soviet etude about Russia identity, which premiered in 2018, could not be more timely; and since it is based on the writings of Svetlana Alexevich, the source is authentic. The show is cohesive, thanks to a clever unifying concept, as well as the ingenious use of props and a mountain of cast-off clothing. The dizzying array of styles and genres can be baffling, but the cumulative effect is astounding. It is definitely not easy to understand, but if your language skills are up for the challenge, it is highly recommended. <strong>March 17</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>March 6</strong></p>
<p><strong><em>Zűrzavar 2045 </em></strong>[Upheaval 2045] This wild adaptation of Leo Birinski’s tragicomedy (created by director Csaba Polgár, featured actor Gerely Bánki, and dramaturge Sára Gábor) portrays a hypothetical future where Hungary (Zengaria) has been incorporated into a Soviet super-state. Still, the humor is strained, contrived, and often unmotivated. The overall hyperactivity plays like desperate ploys for laughs. <strong>March 29</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><em><strong>II. </strong><b>Richárd </b></em>[Richard II] With a line-up evidently meant to show off the company’s young talent, world-class Transylvanian director Gábor Tompa takes on Shakespeare’s challenging history play, adding a brief interlude to introduce three figures at the beginning – which makes emotional sense, sort of, but does little to illuminate the complicated political intrigues. On the plus side, Miklós H. Vecsei is well-cast as the irresponsible monarch. He is not as flamboyant as he could be, but he is flashy and definitely understands the self-indulgent histrionics of the role. The costumes are less inspired for the king’s favorites (Bagot, Green, and Bushy), who come across as nondescript. So does Attila Vidnyánszky, Jr. in the key role of Bolingbroke (soon to be Henry IV). I struggle to remember his performance. The famous garden scene was replaced by a drug-inspired vision among the queen and her decadent ladies-in-waiting. The result is visually arresting, but less than coherent. <strong>March 23</strong></p>
<p><strong><em>A kő </em></strong>[Der Stein] This is a competent and pleasant staging of contemporary playwright Marius von Mayenburg’s piece, which deals with German identity, guilt, and responsibility. It is attractive, but unremarkable and ultimately forgettable. <strong>March 18, 26</strong></p>
<p><strong><em>A Nyugat császára </em></strong>[Playboy of the Western World] Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three, with a dynamite fight sequence. <strong>March 25</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>March 3, 29</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>March 13, 14, 16, 28</strong></p>
<p><strong><em>Egy csepp méz </em></strong>[A Taste of Honey] Best known from the classic British film starring Rita Tushingham, the production here catches the spirit of the original play, but does not quite reflect the difficult living conditions in 60s England. Ádám Pörögi is good as Geof, and Adél Kováts shines as the unsympathetic mother, a tragic figure in her own right. However, Blanka Mészáros, as the heroine, fails to make an impression. <strong>March 18, 31</strong></p>
<p><strong><em>Egy piaci nap </em></strong>[A Market Day] Novelist Pál Zavada has often mined dark moments of Hungarian history, but this dramatization of anti-Semitic violence in the countryside, suffering under post-WWII Communist oppression, handles the materially in a dismally shallow manner. For the most part, the characters are juvenile, idiotic, and obnoxious. <strong>March 23</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Bankhitel</em></strong> [Bank Credit] Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they have made use of the same animated clips, which so effectively hinted at the play’s larger themes. <strong>March 19 (7:30pm)</strong></p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>March 2, 3</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>March 21 (8pm)</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>March 11 (7:30pm)</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>March 22 (7:30pm)</strong></p>
<p><strong><em>Szomjás férfiak isznak helyettem</em></strong> [Thirsty Men Drink Instead of Me] This lively cabaret featuring four distinctive actresses (directed by actor Zsolt Mathé of the Örkény Company) attempts to crystallize the experiences of contemporary Hungarian women. Along the way there are some pearls of comedy, but not enough dramaturgical string to hold it together. <strong>March 24 (7:30pm)</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>March 19, 20 (3pm), 27 (3pm)</strong></p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>March 25</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>March 30 (7:30pm)</strong> </p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>42. hét</em></strong> [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended! <strong>March 19 (8pm), 20 (7pm)</strong><strong><em> </em></strong></p>
<p><strong><em>A demon gyermekei </em></strong>[The Devil’s Children] The focus of Béla Pintér’s one-act is once again a miserable family, only here the household tyrant is the mother (played fearlessly by the author). Plenty of gender bending (for example, Zoltán Friedenthal’s excellent portrayal of Mónika) and a Japanese setting keep things interesting. The resolution, however, seems rushed, leaving us wishing for more. <strong>March 29 (8pm), 30 (7pm)</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>March 1</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging are more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>March 10, 11</strong></p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable. <strong>March 27, 28</strong></p>
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<h2><strong>Tesla Teátrum (Tesla Theater)</strong></h2>
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<p><strong><em>A vágy </em></strong>[Desire] While not as scabrous as some of Franz Xaver Kroetz’s works, staging this piece definitely demonstrates the daring of the Radnóti company. When a gardener takes in his wife’s nephew (just released from prison on account of a sex crime), the young man assures him he is harmless due to the libido-suppressing drug he must take; however, just the presence of this blank-slate Adonis turns the homeowner’s world upside down. While I do not find anything revolutionary in the material (which plays out like a middle-aged man’s insecurities before becoming wish fulfillment), the author can certainly make the audience squirm by throwing light on ordinary people’s intimate deeds. The cast is fearless (especially Zoltán Schneider and Adél Kováts as the older couple), Róbert Alföldi directs sex scenes like no one else, and I liked the details in the quasi-realistic set by Eszter Kálmán. <strong>March 8</strong></p>
<p><strong><em>Feljegyzések az egérlyukból </em></strong>[Notes from the Underground] Radnóti Theatre’s studio space hosts this production by the Füge Company, which brings detailed physical acting to this succinct and faithful adaptation of Dostoevsky’s classic. The staging is simple, and the cast is strong overall. By not straining to make the atmosphere oppressive, they provide a clear portrait of human frailty and insignificance. <strong>March 26 (3pm)</strong></p>
<p><strong><em>Gina </em></strong>– This fresh work penned by film director Mihály Schwechtje pulls no punches, and unlike many new plays, its milieu is startlingly up-to-date. Gina refers to a date-rape drug administered to an under-aged girl at a party attended by the championship water polo team of a small town, which is due to receive a large government subsidy to build a sports facility. What unfolds is not sad because it is awful, but because it is so damn plausible. Social media is instantly in an uproar. The coach of the water polo team has enough clout to intimidate the senior female investigator assigned to the case. The parents of a boy accused of wrongdoing turn on ne another, each blaming the other’s parenting style for what their son might have done. In the midst of this, there is the victim, who simply wants to know what happened to her during the time she blacked out. This is an auspicious play, but unfortunately, the playwright directed it himself, where an experienced theatre artist could have done better. At one point or another, he has certain characters go through an exaggerated emotional upheaval onstage, which pushes these dramatic moments toward ironic or unintended comedy. On the whole, the cast is strong; however, Orsolya Török-Illyés, best known for her film work, visibly lacks stage technique. That is a shame, since she taps into deep emotion quite naturally. <strong>March 25</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Nagymamával álmodtam </em></strong>[I Dreamed of Grandma] In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. <strong>March 27 (8pm), 29 (8pm)</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>A bolondok grófja </em></strong>[The Count of Fools] Based on a tale by Romantic writer Mór Jokai, a man seeks to regain his ancestral estate, only to find it has been repurposed as an insane asylum. Can he assert his authority over the inmates as their assumed lord, and what of the comely lass who never speaks, but only sings touching folk songs? This all packaged as a comedy, and the acting talent ranges from competent to community-theatre amateur. Overall, it plays like children’s theatre for adults, and it is tedious at times. <strong>March 5 (3pm)</strong></p>
<p><strong><em>Az élet kapuja </em></strong>[The Gateway of Life] Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s elegant dramaturgy. Instead we get a pandering piece about a Hungarian delegation to Rome in 1512 and political intrigues with Pope Julius II, played well by Ottó Viczián. All in all, though, this seems to be a vanity project on the part of the theater’s manager, György Dönner, who cast himself as the clever cardinal protagonist. <strong>March 26 (7pm), 27 (3pm)</strong></p>
<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>March 31</strong></p>
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<h2><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></h2>
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<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>Anyaszemefénye </em></strong>[The Glimmer in Mom’s Eye] For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ervin Nagy from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?” <strong>March 14, 15</strong></p>
<p><strong><em>Kaiser TV, Ungarn</em></strong><em> </em>Time travel and a mythical 19<sup>th</sup>-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. <strong>March 16, 17</strong></p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. <strong>March 1, 2</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>March 14, 31</strong></p>
<p><strong><em>A nagy Gatsby </em></strong>[The Great Gatsby] Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. Nonetheless, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. <strong>March 2, 3, 23</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>March 4, 9, 16, 25</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>March 7 (7:30pm)</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>March 9 (7:30pm)</strong></p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has order the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. <strong>March 11, 27</strong> </p>
<p><strong><em>Csáth és démonai </em></strong>[Csáth and His Demons] The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. <strong>March 13 (7:30pm), 29 (7:30pm)</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>March 18</strong><strong> </strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>March 19 (7:30pm)</strong></p>
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<p><em>See you at the theatre!</em></p>
<p><span> </span></p>
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Budapest Theatre Digest
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GUIDE TO PERFORMANCES IN FEBRUARY 2022
2022-02-04T11:19:40+01:00
2022-02-04T11:19:40+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://m.blog.hu/th/theatredaemon/image/00e98bf6b35b971c9422cabd4cf7803e.jpg" width="601" height="400" /></p>
<p> </p>
<p><strong>Here is your guide to the performance options in February 2022.</strong></p>
<p><strong>Entries are arranged by theater or venue. Most shows begin at 7pm, unless otherwise noted.</strong></p>
<p><strong> </strong></p>
<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
<p> </p>
<p>This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.</p>
<p><strong><em>Öröm és boldogsáa </em></strong>[Joy and Happiness] This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. <strong>February 4</strong></p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Kataln Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>February 5</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Tibor Szolár) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! <strong>February 16 (6pm)</strong></p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>February 3 (6pm)</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A Pendragon-legenda </em></strong>[The Pendragon Legend] It is difficult to get a seat in the tiny and ornate Kálmán Imre Teátrum (entrance off the buffet), but if you are a fan of WTF theatre, this is a must-see. When adapting Antal Szerb’s mystical-comic-thriller-parody novel (available in English), creators Adrián Kovács and Attila Galambos tossed in some operetta confection, some darkly iconoclast musical numbers, and some Harry Potter (or is it Star Wars?) to create a mind-bending clash of styles. Still, the music is competent, and the performers are touchingly committed to this truly bonkers spectacle. If some aspects of the production seem cheap, just wait for the eye-popping Black Mass finale. All in all, it is an unbelievable experience. <strong>February 15 (6pm), 16 (6pm), 17 (2pm, 6pm), 18 (6pm)</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
<p><strong> </strong></p>
<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>A cigánybáró</em></strong> [The Gypsy Baron] Wisely setting this operetta by Johann Straus, Jr., in a carnival atmosphere, director Miklós Szinetár can be just as pastel and chintzy as he wants. Yet, with the story-book projection during the overture, it becomes clear that this is to be a lesson about Hungary’s culturally diverse past and the benefits of multiculturalism. To this end, he has András Hábleter play an obnoxious and largely superfluous narrator, who then must justify his presence onstage with distracting business. A final dance to “The Blue Danube” also underlines the message. Overall, though, the production is as whimsical as children’s theatre. It is far too fluffy to support social commentary, no matter how well-intentioned. <strong>February 18 (6pm), 20 (6pm), 25 (6pm), 27 (11am)</strong></p>
<p><em><strong>Manon Lescaut </strong></em>In place of their last production of Puccini’s classic potboiler (which was standard, boring, but workman-like), this quasi-modern version fails to deliver. It is too inept in its traditionalism to convey the plot properly, and the avant-garde touches feel superfluous, derivative, or worse. (The random demonic extras seem lifted from the work of Romanian director Silviu Purcărete.) Perhaps the weakest part is Act One, which has no consistent visual style and seems costumed from four different operas. Also an arriving car effect falls so flat, it makes you wonder, "Why did they bother?" Close your eyes during the overture to Act Three in order to miss the tacky video. Plus, the massive set is immobile, and they do not mask it for the final scene in the desert, so just pretend it is not there. That said, the work itself is beautiful and heart-wrenching, the orchestra plays well, and the singers are by and large up to the vocal challenges. <strong>February 4, 6</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>February 11 (7:30pm), 25 (7:30pm)</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
<p><em> </em></p>
<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>February 19</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>February 8</strong></p>
<p><strong><em>Lenni vagy nem </em></strong>[To Be or Not…] Playwright Sári O. Horváth captures modern-day existence like few other authors in Hungary. In this production from Szeged, featuring a cast of seven women and one man, she explores the pressures to become a mother and raise a family. The lone male figure is immune to this pressure and takes no responsibility for his mostly cavalier treatment of the women. Despite a lackluster start, the direction provided by Kristóf Widder was serviceable, yet nothing brilliant. Gábor Róbert seemed lost in his role as the philandering Dr. Király, but several of the actresses (particularly the older women) had stellar moments. <strong>February 27</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>February 18 (6pm), 26 (6pm)</strong></p>
<p><strong> </strong></p>
<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
<p><strong> </strong></p>
<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in Act One) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>February 18</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>February 20 (3pm)</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>February 1</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>February 4, 16</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>February 1</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>February 5 (3pm)</strong></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] Norwegian director Eirik Stubø’s understated staging of Tennessee William’s popular play is quite effective with disarming performances by Eszer Ács as Laura and Andrea Söptei as Amanda. The latter does not come off as a harpy, as in previous incarnations. The big drawback is Sándor Berettyán as Tom, who has absolutely no presence onstage. I can barely recall his performance. <strong>February 4, 5</strong></p>
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<h2><strong>Örkény István Színház (István Örkény Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>February 12</strong></p>
<p><strong><em>A legyek </em></strong>[The Flies] This scaled-down staging of Jean-Paul Sartre’s take on the evergreen tale of Electra is visually arresting, and it deftly evokes the collective guilt of a community haunted by crimes that go unpunished. Zsolt Nagy, as Jupiter, proves again that he is good in superhuman roles. Still, despite good performances, the show fails to convey the tragic downfalls of its main characters, lacking the epic sweep of the Frenchman’s original vision. <strong>February 11 (7:30pm), 24 (7:30pm)</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>February 1</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>February 13 </strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>February 8, 27</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>February 5</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>February 1 (7:30pm), 14 (7:30 pm)</strong></p>
<p><strong><em>Édes Anna </em></strong>[Sweet Anna] Dezső Kosztolányi’s slim, splendid 1926 novel about an enigmatic, long-suffering, and ultimately homicidal serving maid seems perfect for a creative stage adaptation, but director Zita Szenteczki and dramaturge Bence Biró trot out all the dull and tired modern techniques. The result is not illuminating in the slightest, and none of the talented actors manage to capture what was so fascinating about these characters on the page. Best to read the book, which is available in English translation. (studio space) <strong>February 4, 15</strong></p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. <strong>February 19, 20</strong></p>
<p><strong><em>Macbeth </em></strong>– The framing device for this take on the Scottish Play is a museum exhibit of a crown, before the four security guards/tour guides begin re-enacting the events of the play. The highlight for me was the banquet scene, held in the lobby of the space, where we were treated to water and <em>pogácsa </em>(little savory biscuits) while Mr. and Mrs. Macbeth sang a popular number from the operetta <em>Queen of the Csardás. </em>Still, for native English speakers, this version will not add much to your appreciation of the original. (studio space) <strong>February 9 (7:30pm), 27 (7:30pm)</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>February 11</strong></p>
<p><strong><em>Zűrzavar 2045 </em></strong>[Upheaval 2045] This wild adaptation of Leo Birinski’s tragicomedy (created by director Csaba Polgár, featured actor Gerely Bánki, and Sára Gábor) portrays a hypothetical future where Hungary (Zengaria) has been incorporated into a Soviet super-state. Still, the humor is strained, contrived, and often unmotivated. The overall hyperactivity plays like desperate ploys for laughs. <strong>February 23</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
<p> </p>
<p><em><strong>II. Richárd</strong> </em>[Richard II] With a line-up evidently meant to show off the company’s young talent, world-class Transylvanian director Gábor Tompa takes on Shakespeare’s challenging history play, adding a brief interlude to introduce three figures at the beginning – which makes emotional sense, sort of, but does little to illuminate the complicated political intrigues. On the plus side, Miklós H. Vecsei is well-cast as the irresponsible monarch. He is not as flamboyant as he could be, but he is flashy and definitely understands the self-indulgent histrionics of the role. The costumes are less inspired for the king’s favorites (Bagot, Green, and Bushy), who come across as nondescript, as does Attila Vidnyánszky, Jr. in the key role of Bolingbroke (soon to be Henry IV). I struggle to remember his performance. The famous garden scene was replaced by a drug-inspired vision among the queen and her decadent ladies-in-waiting. The result is visually arresting, but less than coherent. <strong>February 17</strong><em> </em></p>
<p><strong><em>A kő </em></strong>[Der Stein] This is a competent and pleasant staging of contemporary playwright Marius von Mayenburg’s piece, which deals with German identity, guilt, and responsibility. It is attractive, but unremarkable and ultimately forgettable. <strong>February 11, 18</strong></p>
<p><strong><em>A Nyugat császára </em></strong>[Playboy of the Western World] Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three, with a dynamite fight sequence. <strong>February 26</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>February 10</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>February 1, 4, 13, 14, 20 (5pm)</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Bankhitel</em></strong> [Bank Credit] Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they have made use of the same animated clips, which so effectively hinted at the play’s larger themes. <strong>February 11 (8pm)</strong></p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>February 7</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>February 6 (8pm)</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>February 5 (7:30pm)</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>February 28 (7:30pm)</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>February 12 (3pm), 13</strong></p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>February 19 (7:30pm)</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>February 28 (7:30pm)</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>February 13 (11am)</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>February 5</strong></p>
<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>February 9, 10, 11, 12</strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>February 1 (8pm)</strong></p>
<p><strong><em>Parasztopera</em></strong> [Peasant Opera] Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see! <strong>February 24, 25</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>February 26, 27</strong></p>
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<h2><strong>Tesla Teátrum (Tesla Theater)</strong></h2>
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<p><strong><em>A vágy </em></strong>[Desire] While not as scabrous as some of Franz Xaver Kroetz’s works, staging this piece definitely demonstrates the daring of the Radnóti company. When a gardener takes in his wife’s nephew (just released from prison on account of a sex crime), the young man assures him he is harmless due to the libido-suppressing drug he must take; however, just the presence of this blank-slate Adonis turns the homeowner’s world upside down. While I do not find anything revolutionary in the material (which plays out like a middle-aged man’s insecurities before becoming wish fulfillment), the author can certainly make the audience squirm by throwing light on ordinary people’s intimate deeds. The cast is fearless (especially Zoltán Schneider and Adél Kováts as the older couple), Róbert Alföldi directs sex scenes like no one else, and I liked the details in the quasi-realistic set by Eszter Kálmán. <strong>February 5, 23</strong></p>
<p><strong><em>Feljegyzések az egérlyukból </em></strong>[Notes from the Underground] Radnóti Theatre’s studio space hosts this production by the Füge Company, which brings detailed physical acting to this succinct and faithful adaptation of Dostoevsky’s classic. The staging is simple, and the cast is strong overall. By not straining to make the atmosphere oppressive, they provide a clear portrait of human frailty and insignificance. <strong>February 20 (3pm)</strong></p>
<p><strong><em>Gina </em></strong>– This fresh work penned by film director Mihály Schwechtje pulls no punches, and unlike many new plays, its milieu is startlingly up-to-date. Gina refers to a date-rape drug administered to an under-aged girl at a party attended by the championship water polo team of a small town, which is due to receive a large government subsidy to build a sports facility. What unfolds is not sad because it is awful, but because it is so damn plausible. Social media is instantly in an uproar. The coach of the water polo team has enough clout to intimidate the senior female investigator assigned to the case. The parents of a boy accused of wrongdoing turn on ne another, each blaming the other’s parenting style for what their son might have done. In the midst of this, there is the victim, who simply wants to know what happened to her during the time she blacked out. This is an auspicious play, but unfortunately, the playwright directed it himself, where an experienced theatre artist could have done better. At one point or another, he has certain characters go through an exaggerated emotional upheaval onstage, which pushes these dramatic moments toward ironic or unintended comedy. On the whole, the cast is strong; however, Orsolya Török-Illyés, best known for her film work, visibly lacks stage technique. That is a shame, since she taps into deep emotion quite naturally. <strong>February 26</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Nagymamával álmodtam </em></strong>[I Dreamed of Grandma] In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. <strong>February 9 (8pm), 10 (8pm)</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
<p> </p>
<p><strong><em>A bolondok grófja </em></strong>[The Count of Fools] Based on a tale by Romantic writer Mór Jokai, a man seeks to regain his ancestral estate, only to find it has been repurposed as an insane asylum. Can he assert his authority over the inmates as their assumed lord, and what of the comely lass who never speaks, but only sings touching folk songs? This all packaged as a comedy, and the acting talent ranges from competent to community-theatre amateur. Overall, it plays like children’s theatre for adults, and it is tedious at times. <strong>February 11</strong></p>
<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>February 13 (3pm)</strong></p>
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<h2><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></h2>
<p><strong> </strong></p>
<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>Anyaszemefénye </em></strong>[The Glimmer in Mom’s Eye] For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ervin Nagy from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?” <strong>February 2 (8pm), 3</strong></p>
<p><strong><em>Tündöklő középszer</em></strong> [Dazzling Mediocre] An altogether lighter offering by Béla Pintér, this exercise in self-parody focuses on the petty internal conflicts of an independent theatre company in Budapest, but there is plenty of heart-wrenching humor to be found. Pay attention to the play-within-a-play written by the dim-witted impresario Géza. It could be the great absurd drama the actual author has yet to write. Recommended for confirmed Pintérites. <strong>February 1</strong></p>
<p><strong><em>Sehova kapuja</em></strong> [Gate to Nowhere] This early play by Béla Pintér deals with the misguided evangelists of a religious cult who journey deep into the countryside to make converts. Fanaticism, alcoholism, folk dancing, drug use, and repressed sexuality are all unpacked. A journey to nowhere, perhaps, but undeniably unique. <strong>February 7 (8pm), 8</strong></p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. <strong>February 28 (8pm)</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>February 13, 28</strong></p>
<p><strong><em>A nagy Gatsby </em></strong>[The Great Gatsby] Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. Nonetheless, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. <strong>February 2, 17, 21</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>February 5 (2:30pm), 7, 15, 18, 26 (2:30 and 7pm)</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>February 10 (7:30pm), 27 (7:30pm)</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>February 9 (7:30pm), 20 (7:30pm)</strong></p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has order the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. <strong>February 10, 27</strong> </p>
<p><strong><em>Csáth és démonai </em></strong>[Csáth and His Demons] The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. <strong>February 19 (3pm)</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>February 23</strong></p>
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<p><em>See you at the theatre!</em></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2021/11/17/guide_to_performances_in_oct_-nov
GUIDE TO PERFORMANCES IN OCT.-NOV. 2021
2021-11-17T17:15:07+01:00
2021-11-17T17:15:07+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><strong><img src="https://m.blog.hu/th/theatredaemon/image/b067944bbf8b580de5b6221a0d491750.png" /></strong></p>
<p><strong></strong><strong>Theatre is getting back on its unsteady feet now that lockdown rules have been loosened – but for how long? This quick guide highlights plays currently in repertory, but it is by no means comprehensive. These are only my tips. </strong><strong>Entries are arranged by theater or venue. Please check for exact times.</strong> </p>
<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p>The business model for the Downtown Theater is commercial – proven hits or stage versions of well-known films and musicals featuring big name actors. If it is light entertainment you are seeking, this is a safe bet, but do not expect groundbreaking theatre. Current productions include <em>Amy’s View</em>, <em>Cactus Flower</em>, <em>The Mousetrap</em>, and <em>Husbands and Wives </em>– to name some familiar titles.</p>
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<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
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<p>This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.</p>
<p><strong><em>Öröm és boldogsáa </em></strong>[Joy and Happiness] This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. <strong>Oct. 15, 22; Nov. 4, 22, 27</strong></p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Katalin Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>Oct. 3, 29; Nov. 6, 10, 20</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Nobert Ács) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! <strong>Oct. 13, 14; Nov. 7</strong></p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>Oct. 21, 24</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A Pendragon-legenda </em></strong>[The Pendragon Legend] It is difficult to get a seat in the tiny and ornate Kálmán Imre Teátrum (entrance off the buffet), but if you are a fan of WTF theatre, this is a must-see. When adapting Antal Szerb’s mystical-comic-thriller-parody novel (available in English), creators Adrián Kovács and Attila Galambos tossed in some operetta confection, some darkly iconoclast musical numbers, and some Harry Potter (or is it Star Wars?) to create a mind-bending clash of styles. Still, the music is competent, and the performers are touchingly committed to this truly bonkers spectacle. If some aspects of the production seem cheap, just wait for the eye-popping Black Mass finale. All in all, it is an unbelievable experience. <strong>Oct. 13, 14, 15, 16</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>Nov. 4</strong></p>
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<h2><strong>Eiffel Műhelyház (Eiffel Opera – Locomotive Hall)</strong></h2>
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<p>This out of the way venue has been hosting an increasing number of big productions while the State Opera House is still under renovation. Don’t be afraid to make the journey out to this unique setting for opera.</p>
<p><strong><em>A Mester és Margarita </em></strong>[Master and Margarita] Bulgakov’s brilliant, epic novel is scaled down and simplified here, then set to an eclectic array of music by contemporary composer Levente Gyöngyösi and directed by Vajk Szente, who is quite accomplished in musical theatre. They seem to be aiming for a crowd-pleasing crossover, to initiate first-time viewers of opera. Still, the outcome is a coloring-book version of the source material and draws unfavorable comparisons to <em>Jesus Christ Superstar. </em>The venue is unable to mount a full-scale production, so the music is canned, and the choruses are also pre-recorded. By all means, read the original instead! <strong>Oct. 9, 13, 14, 15, 16, 17</strong> </p>
<p><strong><em>Carmen </em></strong>This mildly modern take on <em>Carmen </em>has swept the opera world, and yet the six hollowed-out cars onstage can seem somewhat gimmicky. Also, my companion and I were troubled by the female stereotypes and casual misogyny in the staging. Nevertheless, the music was splendid, the plot is never boring, and Szabolcs Bruckner’s Don José was fearsomely convincing. Andrea Szántó was good, but seemed to lack directorial support as Carmen. Zsolt Haja was sadly disappointing as the matador. Hold out for Gábor Bretz in this great baritone role. <strong>Oct. 8, 10</strong></p>
<p><strong><em>Veszedelmes Éden </em></strong>[Les Enfants Terribles] Make sure you are familiar with repetitive music style of Philip Glass before signing up for this modern opera interpretation of Cocteau’s classic novel. The individual scenes are understated and psychological – episodic, preceded and followed by symbolic, balletic dance numbers – with no arias at all. The staff on this production is remarkably young. The set is evocative, yet bland. The dancers’ costumes are practically uniform, so it is hard to distinguish what figures they represent. Overall, the music did not convey much of the story to me, and the English titles were riddled with glaring errors. This could be a fascinating evening for those interested in modern opera, but certainly not a pleasant experience for the casual theatergoer. <strong>Nov. 13, 20, 27</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
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<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II. János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>Bánk Bán </em></strong>[The Regent Bánk] This stirring national opera is probably Ferenc Erkel’s best, based on <em>the </em>classic Hungarian play by József Katona. Nevertheless, this revamped version, courtesy of director Attila Vidnyánszky, is sadly underwhelming. Confusing and unnecessary stage business hinders our understanding of the plot, as the director strives to give us <em>his </em>vision. <strong>Oct. 29; Nov. 5, 7, 13</strong></p>
<p><strong><em>István, a király </em></strong>[Stephen, the King] Octogenarian director Miklós Szinetár drains all that was cool out of the infectious rock musical from 1983. Granted, this account of Hungary’s founder uniting the nation under Christianity played much differently during the waning years of Communism, but here the production lays the religion on thick. The opera singers are badly equipped to handled this style of music, and King Stephen comes off very milquetoast. For better or worse, the pagan rebel Koppány emerges as far more sympathetic. Not recommended! (Also, this production is not to be confused with <em>King Stephen</em>, the opera by Ferenc Erkel, or the current mash-up of Beethoven, Koetzebue, and Sádor Sík, currently playing at the Eiffel.) <strong>Nov. 12, 14, 17, 18, 19, 20</strong></p>
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<h2><strong>Hatszín Teatrum</strong></h2>
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<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>Oct. 8</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect the lives of most modern Hungarian women? <strong>Oct. 4, 5, 7, 11, 22, 31; Nov. 13, 19, 20</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>Oct. 4, 21; Nov. 2</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>Oct. 16; Nov. 12 </strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of a child with autism, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>Oct. 14; Nov. 13</strong></p>
<p><strong><em>Lenni vagy nem </em></strong>[To Be or Not…] I have not seen this production yet, but having read the play, I can state that this is an auspicious start for talented playwright Sári O. Horváth. She captures modern-day existence like few other authors in Hungary. <strong>Nov. 7</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>Oct. 15, 29; Nov. 19</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in Act One) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>Oct. 19; Nov. 13</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>Oct. 8, 28; Nov. 12</strong></p>
<p><strong><em>Tortúra </em></strong>[Misery] I dare someone to see this staging of the Stephen King novel and tell me their impressions. I will publish your review in my blog. <strong>Oct. 21; Nov. 22, 25</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p>For a considerable period, Katona was considered the best troupe in Budapest, and it still holds plenty of prestige. It boasts a number of subscribers, and that often makes buying tickets there challenging. Nevertheless, they irked me recently by refusing to refund my tickets for performances canceled due to Covid-19. </p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>Oct. 22; Nov. 12</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>Nov. 22, 23</strong></p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>Nov. 14, 25</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Katalin Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>Nov. 25</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>Oct. 30</strong></p>
<p><strong><em>Rómeó és Júlia </em></strong>[Romeo and Juliet] Whereas the costuming and sets are traditional, the outcome is derivative and dull. The leads are attractive, but lack chemistry, and there is an overall dearth of excitement and passion. Some of the older members of the company give fine turns as Friar Lawrence, Lord Capulet, and Juliet’s Nurse; still, they cannot save the show. <strong>Oct. 5, 14, 15, 16, 17; Nov. 17, 18</strong></p>
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<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
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<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence, and the costumes some unintelligible tradition which the characters feel compelled to either follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>Oct. 29; Nov. 7</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>Oct. 18</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>Oct. 6; Nov. 11</strong></p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. <strong>Oct. 13, 14, 30; Nov. 6, 19</strong></p>
<p><strong><em>Macbeth </em></strong>– The framing device for this take on the Scottish Play is a museum exhibit of a crown, before the four security guards/tour guides begin re-enacting the events of the play. The highlight for me was the banquet scene, held in the lobby of the space, where we were treated to water and <em>pogácsa </em>(little savory biscuits) while Mr. and Mrs. Macbeth sang a popular number from the operetta <em>Queen of the Csardás. </em>Still, for native English speakers, this version will not add much to your appreciation of the original. (studio space) <strong>Oct. 6, 17; Nov. 15</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>Oct. 14, Nov. 19</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>A kő </em></strong>[Der Stein] This is a competent and pleasant staging of contemporary playwright Marius von Mayenburg’s piece, which deals with German identity, guilt, and responsibility. It is attractive, but unremarkable and ultimately forgettable. <strong>Oct. 6, 12, 28; Nov. 19, 27</strong></p>
<p><strong><em>A Nyugat hőse </em></strong>[Playboy of the Western World] Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three with a dynamite fight sequence. <strong>Oct. 9, 10; Nov. 11</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play centers upon the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>Oct. 2, 30; Nov. 9, 30</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Bankhitel</em></strong> [Bank Credit] Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they still make use of the old animated clips, which so effectively hinted at the play’s larger themes. <strong>Oct. 3, 31; Nov. 20, 21</strong></p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>Oct. 13, 14, 15; Nov. 16, 17</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>Oct. 25; Nov. 6 </strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>Oct. 22; Nov. 19</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>Oct. 30, 31; Nov. 28</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>Nov. 19</strong></p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>Oct. 20, 21; Nov. 14</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>Oct. 8; Nov. 25</strong></p>
<p> </p>
<h2><strong>Stúdió K (Studio K)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>Oct. 10</strong></p>
<p> </p>
<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>A demon gyermekei </em></strong>[The Devil’s Children] The focus of Béla Pintér’s one-act is once again a miserable family, only here the household tyrant is the mother (played fearlessly by the author). Plenty of gender bending (for example, Zoltán Friedenthal’s excellent portrayal of Mónika) and a Japanese setting keep things interesting. The resolution, however, seems rushed, leaving us wishing for more. <strong>Oct. 18, 19, 20</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>Nov. 16</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>Oct. 30, 31</strong></p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable. <strong>Nov. 25, 26, 27</strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>Oct. 27</strong></p>
<p><strong><em>Szutyok </em></strong>[Muck] In what is possibly Béla Pintér’s most heartbreaking production about the intolerable state of being unloved, a case of child adoption takes on mythic and nightmarish proportions. The cast is superb, embodying their roles lovingly. The piece incorporates elements of folk dance and musical theatre, while deploying an unsettling, potent blend of comedy and tragedy. Highly recommended! <strong>Nov. 18, 19, 20</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>Oct. 23, 24</strong></p>
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<h2><strong>Tesla Teátrum (Tesla Theater)</strong></h2>
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<p><strong><em>Feljegyzések az egérlyukból </em></strong>[Notes from the Underground] Radnóti Theatre’s studio space hosts this production by the Füge Company, which brings detailed physical acting to this succinct and faithful adaptation of Dostoevsky’s classic. The staging is simple, and the cast is strong overall. By not straining to make the atmosphere oppressive, they provide a clear portrait of human frailty and insignificance. <strong>Oct. 11; Nov. 12</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Winterreise </em></strong>[Winter Journey] By staging Schubert’s song cycle with footage from Hungarian refugee camps, director Kornél Mundruczó provides a thought-provoking comment on the immigration crisis. Actor/singer János Szemenyei is not classically trained, but his commitment to the music is compelling. On the evening I saw it, the pianist played with a disgraceful lack of passion. Provided you prepare beforehand by learning about the songs, this can be a highly engaging evening. <strong>Nov. 12</strong></p>
<p><strong><em>Nagymamával álmodtam </em></strong>[I Dreamed of Grandma] In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. <strong>Oct. 3, 4; Nov. 14, 15</strong></p>
<p> </p>
<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>Oct. 24</strong></p>
<p> </p>
<h2><strong>Újszínház (New Theater)</strong></h2>
<p> </p>
<p><strong><em>A bolondok grófja </em></strong>[The Count of Fools] Based on a tale by Romantic writer Mór Jokai, a man seeks to regain his ancestral estate, only to find it has been repurposed as an insane asylum. Can he assert his authority over the inmates as their assumed lord, and what of the comely lass who never speaks, but only sings touching folk songs? This is all packaged as a comedy, and the acting talent ranges from competent to community-theatre amateur. Overall, it plays like children’s theatre for adults, and it is tedious at times. <strong>Oct. 17; Nov. 11</strong></p>
<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>Nov. 21</strong></p>
<p><strong><em>Az élet kapuja </em></strong>[The Gateway of Life] Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s dramaturgical finesse. Instead we get a pandering piece about a Hungarian delegation to Rome in 1512 and political intrigues with Pope Julius II, played well by Ottó Viczián. All in all, though, this seems to be a vanity project on the part of the theater’s manager, György Dönner, who cast himself as the clever cardinal protagonist. <strong>Nov. 26, 27</strong></p>
<p> </p>
<h2><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></h2>
<p><strong> </strong></p>
<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>Anyaszemefénye </em></strong>[The Glimmer in Mom’s Eye] For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ervin Nagy from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?” <strong>Nov. 15, 16</strong></p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. <strong>Nov. 8, 9, 10</strong></p>
<p> </p>
<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>Oct. 16, 17; Nov. 25</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>Nov. 22</strong></p>
<p><strong><em>A nagy Gatsby </em></strong>[The Great Gatsby] Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. All the same, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. <strong>Oct. 30, 31; Nov. 4, 17</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>Oct. 3, 24, 26; Nov. 5, 10, 14, 16, 24</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>Oct. 1, 20; Nov. 18, 26</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>Oct. 15, Nov. 15</strong></p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has order the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. <strong>Oct. 1, 2, 20; Nov. 18, 26 </strong> </p>
<p><strong><em>Csáth és démonai </em></strong>[Csáth and His Demons] The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. <strong>Oct. 18, Nov. 28</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>Oct. 19; Nov. 23</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>Nov. 14</strong></p>
<p><span> <em>See you at the theater!</em></span></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2021/09/24/guide_to_performances_in_september_961
GUIDE TO PERFORMANCES IN SEPTEMBER 2021
2021-09-24T00:13:57+02:00
2021-09-24T00:13:57+02:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><img src="https://m.blog.hu/th/theatredaemon/image/00e98bf6b35b971c9422cabd4cf7803e.jpg" width="545" height="363" /></p>
<p> </p>
<h1><strong>With September 2021 upon us, theatre life begins anew! </strong></h1>
<h1><strong></strong></h1>
<h1><strong>Here is a sampling of the live performance options.</strong></h1>
<h1><strong>Entries are arranged by theater or venue.</strong></h1>
<h1> </h1>
<p> </p>
<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theater)</strong></h2>
<p> </p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>September 29, 30</strong></p>
<p> </p>
<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater of Budaörs)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Rekviem egy álomért </em></strong>[Requiem for a Dream] This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Kati Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. <strong>September 3, 4, 5, 14</strong></p>
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<h2><strong>Eiffel Műhelyház (Eiffel Opera – Locomotive Hall)</strong></h2>
<p><strong> </strong></p>
<p>This out of the way venue has hosted an increased number of big productions while the State Opera House is still under renovation. Don’t be afraid to make the journey out to this unique setting for opera. </p>
<p><strong><em>Carmen </em></strong>This mildly modern take on <em>Carmen </em>has swept the opera world, and yet the six hollowed-out cars onstage can seem somewhat gimmicky. Also, my companion and I were troubled by the female stereotypes and casual misogyny in the staging. Nevertheless, the music was splendid, the plot is never boring, and Szabolcs Bruckner’s Don José was fearsomely convincing. Andrea Szántó was good, but seemed to lack directorial support as Carmen. Zsolt Haja was sadly disappointing as the matador. Hold out for Gábor Bretz in this great baritone role. <strong>September 3</strong> </p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
<p><strong> </strong></p>
<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue. </p>
<p><strong><em>Salome </em></strong>Personally, I feel Richard Strauss’ music dampens the feverish momentum of Oscar Wilde’s original theatre gem, but if it is a tradition, by-the-book staging that you are seeking, look no further. The set and costumes could be a facsimile of the original. Only pay attention to the singers. The overall quality can vary wildly depending on the casting. <strong>September 19, 26, 29</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>September 4</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>September 10</strong></p>
<p> </p>
<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>September 16, 17</strong></p>
<p><strong> </strong></p>
<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
<p><em> </em></p>
<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Bankhitel</em></strong> [Bank Credit] Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they have made use of the same animated clips, which so effectively hinted at the play’s larger themes. <strong>September 1, 16</strong></p>
<p><strong><em>Budapest</em></strong><strong><em> fölött az ég </em></strong>[The Sky over Budapest] Essentially a modern Hungarian re-interpretation of <em>Wings of Desire</em>, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. <strong>September 4, 5, 29</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>September 2</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>September 25</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>September 6, 7</strong></p>
<p> </p>
<h2><strong>Stúdió K (Studio K)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>September 19</strong></p>
<p> </p>
<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>September 14</strong></p>
<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>September 16, 17, 18</strong></p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable. <strong>September 24, 25, 26</strong></p>
<p><strong><em>Bányavakság</em></strong> [Mine Blindness] The second (and most satisfying) installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania focuses on politics, scandal, and blackmail, topped off with a dollop of ethnic tension and violence. The misery may seem a bit overdone by the end, but Gergő Kaszás is spectacular in the lead role. <strong>September 19</strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>September 27</strong></p>
<p><strong><em>Parasztopera</em></strong> [Peasant Opera] Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see! <strong>September 20, 21</strong></p>
<p> </p>
<h2><strong>Tesla Teátrum (Tesla Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Feljegyzések az egérlyukból </em></strong>[Notes from the Underground] Radnóti Theatre’s studio space hosts this production by the Füge Company, which brings detailed physical acting to this succinct and faithful adaptation of Dostoevsky’s classic. The staging is simple, and the cast is strong overall. By not straining to make the atmosphere oppressive, they provide a clear portrait of human frailty and insignificance. <strong>September 15</strong></p>
<p> </p>
<h2><strong>Városmajori Szabadtéri Színpad (Open-Air Stage in Városmajor)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Ünnep </em></strong>[The Celebration] This adaptation of the 1998 Danish film enjoyed a successful run at the Pesti Theatre years ago, and this version by the National Theatre of Miskolc does not shy away from this dark tale of incest and sexual abuse. I found the use of live camera effects rather alienating, and the use of canned music seemed wildly out-of-place. (The film was part of the short-lived Dogme movement, which forbade the use of non-diegetic music.) Actors András Lajos and Bernadett Szirbik are extraordinary, but Tibor Gáspár is no where near ruthless enough as the unrepentant patriarch. Also, why is the protagonist seemingly cured of his sexual ambiguity at the end when he runs off to Paris with the maid? Is this “happy ending” his reward for confronting his abuser? <strong>September 2</strong></p>
<p> </p>
<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>September 11, 12</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>September 16</strong></p>
<p><strong><em> </em></strong></p>
<p><span> <em>See you at the theatre!</em></span></p>
<p> </p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2021/07/02/one_day_at_the_film_festival
ONE DAY AT THE FILM FESTIVAL
2021-07-02T22:24:09+02:00
2021-07-02T22:24:09+02:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><img src="https://m.blog.hu/th/theatredaemon/image/f64b58803d32be504dbb2e0cdc2dc228.jpg" alt="Magyar Mozgókép Fesztivál 2021" width="482" height="310" /></p>
<p> </p>
<h2>Sexuality, Repression, and Theater Takeovers: How Offerings at Baltonfüred’s Film Festival Reflect Hungarian Reality</h2>
<h2> </h2>
<p>June 2021 has seen the passage of a controversial anti-pedophilia bill in Hungary with thousands taking to the street in protest. No, the throngs were not defending the rights of pedophiles. In fact, the bill was a Trojan horse, designed to force through measures that already exist in Russia, and it is eerily similar to bills under consideration now in conservative states of the US – namely, criminalizing the <em>teaching </em>or <em>promotion </em>of homosexuality in schools. Ultimately, this contributes to an atmosphere of silence, intimidation, and repression which has far-reaching negative effects.</p>
<p>In defense of his bill, Prime Minister Viktor Orbán claimed on a radio talk show that the legislation was intended to give parents the choice how their children were educated about sex in public schools. Now, this argument can be attacked from many angles. Nevertheless, let us restrict ourselves to the law’s effects. Educators and school employees would be discouraged from mentioning homosexuality in any context. They could face punishment or the loss of their jobs. Indeed, acknowledging that any historical or literary figure might have enjoyed a same-sex relationship would be <em>promoting </em>a homosexual lifestyle. Hence, the bill fosters an atmosphere of fear while contributing to ignorance, which makes any frank discussion of sexuality very difficult in present-day Hungary. Moreover, by treating homosexuality as a mental illness or a crime (as the law implicitly does by lumping it together with pedophilia), it creates the perfect circumstances for repression and discrimination.</p>
<p> </p>
<h3>Musical: <em>Group Therapy</em></h3>
<p> </p>
<p>This brings me to the very first film on the program for the film festival here in Balatonfüred. The title is <em>Csoportterápia </em>(Group Therapy). It is a made-for-TV adaptation of the musical of the same name, which premiered in Budapest’s Madách Theater in 2011 and afterwards enjoyed an even longer successful run in Kecskemét.</p>
<p>Overall, the script and the resulting movie are very effective. Events are confined to one room; yet, taking a cue from the 2002 film adaptation of the musical <em>Chicago</em>, the musical numbers allow the characters to enter a fantasy realm of Broadway costumes and sharp choreography. The cast, largely recruited from the performers in the Kecskemét production, are mostly solid in their roles.</p>
<p>The weak link is the character of Sylvester, nicknamed “Sisi” like Hungary’s beloved Queen Elisabeth. He is a harmless individual, and while not necessarily mocked, his exaggerated effeminate mannerisms are a constant source of comedy. Later in the film, he reveals his “big secret”, that he is actually straight. (At that point, it becomes the old SNL sketch with Dana Carvey, “Lyle, the effeminate heterosexual” from 1989.) His therapeutic breakthrough comes when he acknowledges that he is a man.</p>
<p>Not only does this conflate gender and sexuality (an attitude that one still often hears in the current dialogue, sadly), it supports the notion that homosexuality – while not evil, per se – is a mental illness that can be cured. When asked what caused his sexual-orientation confusion, Sisi cites his liberal upbringing and parents who would accept him no matter who he was. Obviously, this argument ludicrous; but, in light of the current Hungarian legislation, it is even quite chilling. The lesson remains that parents must enforce a conservative and intolerant atmosphere in the home, or else the liberal agenda will turn their children gay.</p>
<p>While I am fairly certain that the creators, Vajk Szente and Attila Galambos, did not have these harmful messages in mind, their story still builds on these outdated fears and prejudices that the current administration wishes to stoke. As I explained, roughly ten years passed between the production’s original premiere and the filming. It is a shame that they did not take the opportunity to update the script in order to handle this character in a more nuanced and realistic way. This could have been an opportunity to educate audiences about outdated misconceptions surrounding sexuality, possibly even bi-erasure – that is, if the character Sylvester were reluctant to come out as bi on account of rampant misunderstanding. Sadly, the chance was wasted.</p>
<p> </p>
<h3>Documentaries: <em>Return to Epipó </em>and <em>Story of My Mothers</em></h3>
<p> </p>
<p>On a related note, the documentary <em>Visszatérés Epipóba </em>(Return to Epipó) by Judit Oláh sheds light on the consequences of silence and repression. The film examines the case of a notorious summer camp that was closed in Hungary 25 years ago (during the Kádár Era of Communism) when certain children came forward with stories of how their camp leader was grooming and molesting certain underage campers. The camp leader in question never faced punishment, partly because authorities were reluctant to admit instances of sexual abuse, especially homosexual in nature. Victims (particularly, the parents of victims) feared the public shame associated with giving testimony. Thus, the abuser was allowed to go free.</p>
<p>This was followed by <em>Anyáim története</em> (Story of my Mothers), a documentary that follows a contemporary lesbian couple over the course of three years while they underwent the difficult process of adopting a child. As a so-called “disadvantaged couple”, they are allowed to adopt a “disadvantaged child” – which, in this case, means a female baby of Roma heritage. We watch them overcome some difficult parenting situations, and the film culminates with their decision to leave the bigoted environment of Hungary for a chance at a better life in Austria.</p>
<p>At a post-screening talk with the audience, the two female directors (Asia Dér and Sára Haragonics) claimed it was their intention to make a personal and not a political film – only recent events have made their documentary quite topical. The couple we observe seems rather quirky and offbeat, so their relationship comes off as authentic and unforced. If I discerned any <em>political </em>message in the film, it had to do with the couple’s financial security. They lived in a beautiful home with a panoramic view in Solymár, a wealthy suburb of Budapest. Their kitchen was literally cluttered with material conveniences. I do not wish to imply that having money guarantees good parenting, but this would be a great home to grow up in, for any child fortunate enough to be plucked from the state-care system. It felt as though the filmmakers (intentionally or not) had cherry-picked the ideal adoptive parents.</p>
<p> </p>
<h3>Comedy: <em>Ecc-pecc</em></h3>
<p> </p>
<p>The last show of the evening was a soap-bubble of a comedy entitled <em>Ecc-pecc. </em>This expression comes from a children’s rhyme similar to “Eeny-meeny-miny-moe”:</p>
<p><em>Ecc-pecc, kimehetsz Hey-ho, you may go</em></p>
<p><em>Holnap után bejöhetsz, You can come back tomorrow</em></p>
<p><em>Cernára, cinegére, For string, for yarn, for a tit-mouse</em></p>
<p><em>Ugorj, cica, az egerre! Fuss! Kitty, pounce upon the mouse! Run!</em></p>
<p>Here the story concerns a fictional theater in Budapest that is turned upside down by the appointment of an uncultured businessman as the new manager. On some levels, the film is already quite topical, if not realistic. Theaters in Hungary are heavily subsidized by the state, and managers must submit a tender to justify their leadership position every five years. When there is a shake-up – when a popular manager steps down or is unceremoniously replaced – it can cause uproar and outrage. For the sake of background, I will give three recent examples that stick out in my memory.</p>
<p>At Új Színház (New Theater) in 2012, a former actor with outspoken far right-wing convictions, György Dörner, took over after a fairly murky public procurement process. As a result, a significant number of actors in the repertory company (i.e., under contract) quit the theater in protest. One may argue that Új Színház has never fully recovered.</p>
<p>There was a shake-up at the National Theater of Budapest in 2013, when the newly-reinstated Orbán administration replaced the successful and publicly liberal manager (Róbert Alföldi) with a conservative extra-national Hungarian director much more to their liking (Attila Vidnyánszky, Sr.). Rather than effect a smooth transition, the new director immediately cancelled all Alföldi-directed productions overnight, as though purging an infection. Again, many actors quit in protest. To fill the gaps, Vidnyánszky imported several shows and actors he had worked with previously.</p>
<p>Most recently in 2020, Enikő Eszenyi, an ambitious and successful theatre manager by all accounts, was ousted from the respected Vígszínház (Comedy Theater) in favor of Péter Rudolf. Since her leadership skills were unquestionable, detractors attacked her character. I heard so many conflicting versions of this story, I cannot report on it with complete assurance. In general, however, company members testified that she behaved egomaniacally, was impossible to work with, and (according to one account) coerced artists into performing uncomfortable “acting exercises”. Given the ugly nature of the allegations, Eszenyi chose not defend herself. Instead, she withdrew her tender.</p>
<p>Similar phenomena can be seen in education, where the government has deemed it necessary to restructure institutes of higher education as <em>foundations</em>, each run by a <em>curatorium </em>of trustees, who are essentially appointed for life. This has led to the recent collapse of Budapest’s University of Theatre and Film Arts (Színház- és Filmművészeti Egyetem, or SZFE). When professors and educators realized that the trustees (some of whom were businessmen with no background in the performing arts) had no interest in their opinions – indeed, the board was unwilling even to meet with them – they stormed out in protest. They were followed by the students, who eventually occupied the building on Vas Street, giving rise to the “Free SZFE” movement. The government tried various means to end the protest like cutting power to the building, all the while referring to the demonstrators as <em>law-breakers </em>and <em>hooligans </em>in mainstream media coverage.</p>
<p>(Interestingly, one trustee with a theatre background appointed to the board of SZFE is none other than Attila Vidnyánszky, Sr. By occupying leadership roles at both the National Theater of Budapest and the University of Theatre and Film Arts, he has assumed the stature of a Post-Communism Tamás Major, the man who dominated Hungary’s theatre scene during the Kádár Era.)</p>
<p>So, back to the film, the premise of <em>Ecc-pecc</em> is fairly realistic – only the power shift at the fictional theater is orchestrated by a private businessman, not the government. (We never see the face of this mastermind, who is filmed liked Dr. Claw from the old <em>Inspector Gadget </em>animated series.) Mundane details regarding the theater’s operation seem credible, so director Isti Madarász is probably familiar with this world. Still, the characters on display are paper-thin, as we have come to expect from recent comedies (following perhaps in the footsteps of Gábor Herendi’s <em>Valami Amerika </em>trilogy). Their personalities can usually be summarized with one adjective: vain, stupid, ambitious, greedy, irreverent, etc.</p>
<p>The protagonist-director is nearly framed in a drug scandal, which, I dare say, would hardly be a scandal nowadays. However, the ultimate unrealistic element of <em>Ecc-pecc </em>is that our hero, the idealistic director played by Csaba Pindroch, finally succeeds in wresting control of his theatre from the venal usurper played by Tibor Szervét. In none of the instances I cited above has the government ever reversed a controversial appointment, regardless of the outcry or the relative merits of the appointee. Moreover, the status of SZFE (The University of Theatre and Film Arts) remains in limbo. During the pandemic, students ceased to occupy the building, which remains in the government’s hands; yet, due to conflicting reports, even the fate of the building is uncertain. It is hard to imagine an end-game for the outraged students besides merely expressing their protest in the face of an unbeatable enemy.</p>
<p> </p>
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https://theatredaemon.blog.hu/2021/01/16/primer_on_restoration_era_drama
Primer on Restoration Era Drama
2021-01-16T04:46:28+01:00
2021-01-16T04:46:28+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><strong><img src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRFoS7HIkDgJ0aP7hajgpRa8dVEJWvub3AIrQ&usqp=CAU" alt="Restoration Theatre by Adiyah Warner" width="561" height="315" /></strong></p>
<p> </p>
<p><strong></strong><strong style="color: #87c900; font-size: 24px; letter-spacing: -1px;">Primer on Restoration Era Drama (1660 – c. 1710) </strong></p>
<p><strong style="color: #87c900; font-size: 24px; letter-spacing: -1px;">and the So-Called Comedy of Manners</strong></p>
<p> </p>
<p><strong>Introduction</strong></p>
<p>Excerpts from <em>Restoration and Eighteenth Century Comedy</em>, edited by Scott McMillin (W. W. Norton & Co., Inc., 1973):</p>
<p>“[These comedies are] about men and women who live in London, care for sex and money, and make fools of one another if not of themselves.”</p>
<p>“The London theatre from 1660 through most of the eighteenth century … was not a ‘transitional’ stage, standing a bit uncertainly between the Shakespearean playhouse and the theatre of realism… [It was] a place of unusual excitement and innovation.”</p>
<p>“This period presents the first example in England of a transaction between the theatre and an articulate body of social criticism.”</p>
<p>At university, when it came to studying Restoration Comedy, we were handed Richard Sheridan’s <em>School for Scandal</em>, and that was it. Yet, Sheridan represents sunset of this genre, when “laughing comedies” gave way to the “crying comedies” of sentimental theatre, which would dominate stages in the nineteenth century. Ironically, these terms were introduced by Oliver Goldsmith in 1773, the same year he wrote the classic sentimental comedy <em>She Stoops to Conquer. </em></p>
<p>As examples of playwrights writing “laughing comedies” at the time, Goldsmith identified by name Sir John Vanbrugh, who wrote <em>The Provoked Wife </em>in 1697, and Colley Cibber, an actor and theater-manager whose work does not survive. Then, on 1777, a mere four years after Goldsmith’s article, Sheridan unveiled his celebrated work <em>School for Scandal. </em>To a modern eye, all these works betray some creeping qualities of sentimentality. Vanburgh goes to great lengths to show that his heroine, the eponymous “provoked wife”, commits no true impropriety. As literary critic Louis Kronenberger pointed out in his book <em>The Thread of Laughter </em>(1952), “The most brilliant thing about [<em>School for Scandal</em>] is the seeming wickedness of its plot [although] no one sexually sins.” With succeeding generations, playwrights were careful to distribute rewards to virtuous characters and punishments to wrongdoers by the end of their works, a practice that largely survives to this day.</p>
<p>To put it in historical perspective, I’ll quote here the opening paragraph from the introduction of <em>Restoration Plays</em>, edited by Robert G. Lawrence (Guernsey Press, 1976): “Between the Puritan closing of the theaters in 1642 and the accession of Charles II in 1660, in the interregnum dominated by Oliver Cromwell, dramatic activity almost ceased. The restoration of the monarchy was enthusiastically welcomed, but both social and theatrical conditions had changed during the eighteen-year period of turmoil. Society was in search of new values to replace the rejected Puritan ethos, and almost all the pre-Civil War theaters had been destroyed. The two new theaters permitted to open were wholly controlled by the Court and catered almost exclusively to aristocratic tastes and audiences. The proscenium arch, painted scenery, and the appearance of women in female roles were distinctive features of Restoration drama.”</p>
<p>Comedies of this type faced a backlash in 1698, with the publication of Jeremy Collier’s <em>A Short View of the Immorality and Profaneness of the English Stage. </em>Although Collier was soundly rebutted by many journalists and literati of the time, his remarks reflected the changing public sentiment. A growing middle class also enjoyed attending the theatre, but their tastes were different. Conscientious playwrights like Richard Steele (<em>The Conscious Lovers</em>, 1722) and Richard Brinsley Sheridan (<em>The School for Scandal</em>, 1777) tried to address this by dramatizing stories with wholesome moral messages.</p>
<p> </p>
<p><strong>Genre and Modern Reception</strong></p>
<p>Comedy of manners was born during the Restoration Era, but it was not the only popular genre at the time. There were also tragedies and so-called heroic plays (often in historic, exotic locales) that capitalized on the newest stage technology. Spectacle was an important draw, and competitive theatre houses used it to attract audience members. Nonetheless, these epic showstoppers have not survived and are largely unavailable in today’s drama literature. (That may be different now in our post-Amazon times, but the only examples I have found are <em>All for Love</em>, John Dryden’s retelling of the Antony and Cleopatra story, and <em>Venice Preserved </em>by Thomas Ottway.) Regardless of genre, the popular format was five acts with musical interludes or shows during the intervals.</p>
<p>Today, Restoration Period drama is known as the birthplace of the comedy of manners. Plays focused on the upper class of London and, while not realistic by today’s standards, addressed their day-to-day concerns: money, marriage, sex, and reputation. The stories typically played out in a limited number of locations (interiors mostly, with the notorious parks of London being an important exterior location), and fewer settings allowed for more detail and verisimilitude in the set decoration (compared to the minimal sets of Elizabethan and Jacobean drama). We find a notable lack of children in these plays, not much (if any) talk of politics, and telling names continued to be popular. (Appendix II)</p>
<p>Even these early examples of “comedy of manners” have been hard to locate and acquire, because modern audiences are troubled by their amoral attitude. (The rake is rarely punished for his sexual shenanigans, but rather rewarded or celebrated for his superior style. Characters who claim to be moral are routinely mocked or exposed as hypocrites.) Take <em>The Country Wife</em>. It was exiled from the stage and replaced by a cleaned-up version, David Garrick’s comparatively sentimental and boring <em>The Country Girl</em> (1766), which survived into the twentieth century. <em>The Country Wife</em> was only rediscovered in the 1960s. It was purportedly the inspiration for the 1975 film <em>Shampoo </em>starring Warren Beatty, and there was a BBC <a href="https://en.wikipedia.org/wiki/Play_of_the_Month"><em>Play of the Month</em></a> production of <em>The Country Wife</em> in 1977, in which <a href="https://en.wikipedia.org/wiki/Anthony_Andrews">Anthony Andrews</a> played Horner and <a href="https://en.wikipedia.org/wiki/Helen_Mirren">Helen Mirren</a> played Margery.</p>
<p>To get you in the spirit, here are opening lines from the top three Restorations comedies (in terms of quality, but also popularity and survival):</p>
<p>“A quack is as fit for a pimp as a midwife for a bawd.” – William Wycherley, <em>The Country Wife</em>, 1675</p>
<p>“What a dull and insipid thing is a billet-doux written in cold blood, after the heat of the business is over!” – Sir George Etherege, <em>The Man of the Mode</em>, 1676</p>
<p>“The coldness of a losing gamester lessens the pleasure of the winner. I’d no more play with a man who slighted his ill fortune than I’d make love to a woman who undervalued the loss of her reputation.” – William Congreve, <em>The Way of the World</em>, 1700</p>
<p>From these quotations, you can fairly determine that Wycherley’s play is the most savagely satirical. George Etherege (known by the sobriquet “easy Etherege”) softened his satire with genial good humor, so his play is the lightest and most crowd-pleasing of the three. William Congreve’s work is the wittiest.</p>
<p>We most also mention Aphra Behn, a notable female playwright of the era, who is most famous for her play <em>The Rover</em>, which became the favorite of the royal court. (I have only seen her comedy <em>The Feigned Courtesans</em>, which is one of the three occasions when I laughed the hardest in a theater.) However, her plots generally have multiple threads and settings, placing them closer to the Shakespearean tradition.</p>
<p>Also noteworthy is <em>The Beaux Strategem</em>, written by George Farquhar in 1707, which represents the perfect mid-point between the “laughing” and “crying” comedy. Of the two randy protagonists, Archer is absolutely Restoration in his amoral pursuit of pleasure, while his companion Aimwell evinces more moral concerns, befitting a sentimental hero. The comedy is somewhat broader (including jokes about the French, the Irish, and Catholics), which, again, perhaps reflects the changing profile of the audience.</p>
<p> </p>
<p><strong>Audience</strong></p>
<p>Audiences were mixed, but quite segregated. The upper class tended to inhabit the boxes, where discrete visits could be paid. They also afforded clear sight-lines for plenty of flirting looks and gestures. (In one wood-cut, we find boxes for seating on the actual stage, which is rarely written about, so it my have been a novelty.) More casual theatergoing happened in the pit, where there were benches for seating – unless there was a packed house, in which case some patrons were forced to stand. Dandies and young men about town often preferred the pit, since it was livelier and frequented by Orange Women (female concessionists of reputedly loose morals) and Vizard Masks (prostitutes who would ply their trade with covered faces).</p>
<p>This played a part in Vanburgh’s <em>The Provoked Wife</em>, when Lady Brute (the wife of Sir John Brute) dons a mask in order to have a clandestine London adventure, but then she is mistaken for a prostitute. An Orange Woman appears in the first scene of <em>The Man of the Mode </em>to inform the protagonist of all the latest gossip.</p>
<p>For the less well-off, there was gallery seating, which was more notorious for brawls and prostitution. In <em>The Country Wife</em>, Pinchwife does not want his peers to get to know his new spouse, so he sits with her in the gallery, hoping the lusty rakes will assume that she is a common whore beneath their notice.</p>
<p>There are numerous accounts of audience members not paying attention to the show, and playwrights would roast them in the prologues and epilogues to their plays (spoken from the stage by an actor). Patrons occasionally showed up drunk, and some dandies liked to show off their wit in the pit, to the point where the actors onstage could not compete. Some treated the theater as just a stop on their social rounds, a convenient place where intellectuals met, as well wits, gentlemen, persons of quality, and citizens. (Appendix I)</p>
<p> </p>
<p><strong>Appendix I: Quotes about Restoration Audiences</strong></p>
<p> “It was observable how a gentleman of good habit, sitting just before us, eating of some fruit in the midst of the play, did drop down as dead, being choked; but with much ado, Orange Moll did thrust her finger down his throat and brought him to life again.” (Samuel Pepys, 2 November 1667)</p>
<p> </p>
<p>“The Play-houses are so extremely pestered with Vizard-masks and their Trade (occasioning continual Quarrels and Abuses) that many of the more Civilized Part of Town are uneasy in the Company and shun the Theater as they would a House of Scandal.” (<em>Historia Historonica</em>, 1699)</p>
<p> </p>
<p>“Some come with lusty Burgundy half-drunk</p>
<p>T’eat China Oranges, make love to Punk;</p>
<p>And briskly mount a bench when th’ Act is done,</p>
<p>And comb their much-lov’d Periwigs to the tune</p>
<p>And can sit out a Play of three hour long,</p>
<p>Minding no part of’t but the Dance or Song.”</p>
<p>(Prologue to <em>The Ordinary</em>, c. January 1670/1)</p>
<p> </p>
<p>“You Sparks better Comedians are than we;</p>
<p><em> </em>You every day out-fool ev’n Nokes and Lee.</p>
<p>They’re forced to stop, and their own Farces quit,</p>
<p>T’admire the Merry-Andrews of the Pit.”</p>
<p>(Aphra Behn, Epilogue to <em>The False Count</em>, 1681)</p>
<p> </p>
<p>“…Then for you Lacqueys, and your Train beside,</p>
<p>(By what e’er Name or Title dignify’d)</p>
<p>They roar so loud, you’d think behind the Stairs</p>
<p>Tom Dove, and all the Brotherhood of Bears;</p>
<p>They’ve grown a Nuisance, beyond all Disasters,</p>
<p>We’ve none so great but their unpaying Masters.</p>
<p>We beg you, Sirs, to beg your Men, that they</p>
<p>Wou’d please to give you Leave to hear the Play.”</p>
<p>(John Dryden, 1682)</p>
<p> </p>
<p>“…Some there are, who take their first Degrees</p>
<p>Of Lewdness in our Middle Galleries;</p>
<p>The Doughty Bullies enter Bloody Drunk,</p>
<p>Invade and grabble one another’s Punk;</p>
<p>They Caterwoul, and make a dismal Rout,</p>
<p>Call Sons of Whores, and strike, but ne’re lugged out.”</p>
<p>(Southerne, Prologue to <em>The Disappointment</em>, 1684)</p>
<p> </p>
<p> </p>
<p><strong>Appendix II: Telling Names in Restoration Comedy</strong></p>
<p> </p>
<p> <u>William Wycherley (<em>The Country Wife</em>, 1675)</u></p>
<p>Horner, Harcourt, Pinchwife, Sparkish, Lady Fidget, Dainty, Mrs. Squeamish,</p>
<p>also Alithea suggests “truth”</p>
<p> </p>
<p><u>Sir George Etherege (<em>The Man of the Mode</em>, 1676)</u></p>
<p>Mr. Medley, Sir Fopling Flutter (a fop), Lady Townley, Mrs. Loveit,</p>
<p>Pert and Busy (waiting women), Handy (a valet), Mr. Smirk (a parson)</p>
<p> </p>
<p><u>Sir John Vanbrugh (<em>The Provoked Wife</em>, 1697)</u></p>
<p>Constant, Heartfree, Sir John Brute, Lord Rake, Col. Bully, Razor (a valet),</p>
<p>Treble (a singing master), Lady Fanciful (with her maids Cornet and Pipe),</p>
<p>Lovewell (the heroine’s faithful serving maid)</p>
<p> </p>
<p><u>William Congreve (<em>The Way of the World</em>, 1700)</u></p>
<p>Fainall (the villain), Witwould (a fop), Petulant (a fop), Waitwell (a servant),</p>
<p>Lady Wishfort, Mrs. Marwood (Fainall’s accomplice), Foible and Mincing (maids),</p>
<p>also assonance suggests Mirabell and Millamant are meant to be together</p>
<p> </p>
<p><u>George Farquhar (<em>The Beaux Strategem</em>, 1707)</u></p>
<p>Archer, Aimwell, Squire Sullen, Gibbet (a highwayman with accomplices Bagshot</p>
<p>and Hounslow), Scrub (a servant), Lady Bountiful, Gipsy, Cherry (maid at the inn),</p>
<p>also Boniface is the “good-faced” innkeeper who is secretly a criminal </p>
<p> </p>
<p><u>Richard Brinsley Sheridan (<em>The Rivals</em>, 1775)</u></p>
<p>Sir Anthony Absolute, Captain Jack Absolute, Bob Acres, Sir Lucius O’Trigger,</p>
<p>Fag (a servant), Lydia Languish, Mrs. Malaprop</p>
<p> </p>
<p><u>Richard Brinsley Sheridan (<em>The School for Scandal</em>, 1777)</u></p>
<p>Sir Oliver Surface, Crabtree, Sir Benjamin Backbite, Snake (the villain), Careless,</p>
<p>Moses (the “friendly Jew”), Lady Sneerwell, Mrs. Candour</p>
<p> </p>
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introduction
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comedy_of_manners
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2021/01/16/budapest_productions_2020_overview
BUDAPEST PRODUCTIONS - 2020 OVERVIEW
2021-01-16T04:44:52+01:00
2021-01-16T04:44:52+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><strong> </strong></p>
<p><strong><img src="https://m.blog.hu/th/theatredaemon/image/00e98bf6b35b971c9422cabd4cf7803e.jpg" alt="Kerékgyártó István: HUROK a Jurányi Inkubátorházban | Kanadai Magyar Hírlap" width="514" height="342" /></strong></p>
<p> </p>
<h2><strong></strong><strong>OVERVIEW OF PRODUCTIONS IN BUDAPEST</strong></h2>
<h2><strong style="color: #87c900; font-size: 24px; letter-spacing: -1px;">AS OF THE END OF 2020</strong></h2>
<p> </p>
<p><strong>Theatre is at a standstill under lockdown. However, if you want to imagination yourself back in the <em>színház</em>, or simply wish to prepare for its eventual reopening – here is an overview of the various productions, based on offerings from October and November 2020, when the theaters were briefly active.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
<p> </p>
<p><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></p>
<p><strong><em>Gengszter nagyi </em></strong>[Gangster Grandma] This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Nobert Ács) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming!</p>
<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show!</p>
<p><strong> </strong></p>
<p><strong>Budapest Operetta Theater</strong></p>
<p><strong><em>A Csárdaskirálynő</em></strong> [Queen of the Csardás] This campy gem by operetta king Imre Kálmán features some of his best music. I have not yet been able to catch this new staging, directed by Attila Vidnyánszky and choreographed by Yvett Bozsik, but I am willing to bet it is better than the last unbearably tacky revival by Miklós Szinetár.</p>
<p><strong><em>Marica grófnő</em></strong> [Countess Marica] This is a fine introduction to the world of operetta and the music of Imre Kálmán with catchy tunes and potentially acrobatic dance numbers. Also, you need not understand the flimsy plot to enjoy it. I have not yet caught this new staging, directed and choreographed by Yvett Bozsik; however, in light of her arresting modern dance productions in the past, the end result could be interesting.</p>
<p><strong><em>A Pendragon-legenda </em></strong>[The Pendragon Legend] It is difficult to get a seat in the tiny and ornate Kálmán Imre Teátrum (entrance off the buffet), but if you are a fan of WTF theatre, this is a must-see. When adapting Antal Szerb’s mystical thriller parody novel (available in English), creators Adrián Kovács and Attila Galambos tossed in some operetta confection, some darkly iconoclast musical numbers, and some Harry Potter (or is it Star Wars?) to create a mind-bending clash of styles. Still, the music is competent, and the performers are touchingly committed to this truly bonkers spectacle. If some aspects of the production seem cheap, just wait for the eye-popping Black Mass finale. All in all, it is an unbelievable experience.</p>
<p><strong> </strong></p>
<p><strong>Centrál Színház (Central Theater)</strong></p>
<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time.</p>
<p><strong> </strong></p>
<p><strong>Erkel Színház (Erkel Theater)</strong></p>
<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><em><strong><span>Manon Lescaut </span></strong></em><span>In place of their last production of Puccini’s classic potboiler (which was standard, boring, but workman-like), this quasi-modern version fails to deliver. It is too inept in its traditionalism to convey the plot properly, and the avant-garde touches feel superfluous, derivative, or worse. (The random demonic extras seem lifted from the work of Romanian director Silviu Purcărete.) Perhaps the weakest part is Act One, which has no consistent visual style and seems costumed from four different operas. Also an arriving car effect falls so flat, it makes you wonder, "Why did they bother?" Close your eyes during the overture to Act Three in order to miss the tacky video. Plus, the massive set is immobile, and they do not mask it for the final scene in the desert, so just pretend it is not there. That said, the work itself is beautiful and heart-wrenching, the orchestra plays well, and the singers are by and large up to the vocal challenges.</span></p>
<p><strong><em><span>La Traviata </span></em></strong><span>This classic, too, has received a revamped production, and judging from the promotional video, they chose an evocative, symbolic approach. Even if modern direction annoys you, this piece is a great introduction to Verdi and opera in general with its undeniably catchy songs and moving plot. </span></p>
<p> </p>
<p><strong>Hatszín Teatrum</strong></p>
<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life.</p>
<p><strong><em>Prah </em></strong>Real-life couple Oszkár and Szilia Nyári play the financially-strapped middle-aged couple in the countryside whose outlook on life, family, and the future is turned upside down when the husband purchases a winning lottery ticket. Prolific playwright György Spiró’s take on this situation can seem a trifle overwrought and implausible; however, the intriguingly two-dimensional set complements that well by transporting the piece to an altered reality. On the other hand, the actors’ physicality is not consistent enough to sustain the striking visual joke, and Oszkár Nyári dips too frequently into sentimentality.</p>
<p><strong> </strong></p>
<p><strong>Játékszín (Play Stage)</strong></p>
<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women?</p>
<p> </p>
<p><strong>József Attila Színház (Attila József Theater)</strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space)</p>
<p> </p>
<p><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></p>
<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting.</p>
<p><strong><em>A pitbull cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy.</p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes.</p>
<p><strong><em>Hurok </em></strong>[Strings] István Kerekgyartó lifts the structure of Schnitzler’s classic play <em>La Ronde </em>in order to explore political corruption and emotional manipulation in modern-day Hungary. Still, his uneven handling of the figures raises troubling questions about the overall message and morality of the piece. There are plenty of good actors here, but practically no worthwhile characters to inhabit.</p>
<p><strong><em>Mi és ők </em></strong>[We and Them] This brief 60-minute two-character piece by Carly Wijs dramatizes the Beslan school siege of 2014, as seen through the eyes of its two child protagonists. Balázs Benő Fehér stages the work in a space reminiscent of a school gymnasium, using a modern minimalist style that packs a real punch. The performers acquit themselves well, even though Benett Villmány (an appealing young actor at the Radnóti) strains for pathos at the end, when the tone of the script is bitterly cynical.</p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try!</p>
<p><strong> </strong></p>
<p><strong>Karinthy Színház (Karinthy Theater)</strong></p>
<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic.</p>
<p><strong><em>Bunbury </em></strong>[The Importance of Being Ernest] This staging of Oscar Wilde’s classic is strictly by-the-book, ignoring the gay subtext of the original. Still, most of the humor seems to fly over the Hungarian audience’s heads. The costumes are attractive, as are the actors, particularly Zalán Makranczi as John Worthing and Ildikó Tornyi as Gwendolen Fairfax.</p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone.</p>
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<p><strong>Katona József Színház (József Katona Theater)</strong></p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility.</p>
<p><strong><em>A fehér szalag </em></strong>[The White Ribbon] Accomplished dramaturge and actress Éva Enyedi was inspired to bring Michael Haneke’s 2009 black-and-white film to the stage, but it plays like an effort in futility. Despite the stark color palette, she is unable to achieve the atmospheric effect of the cinematography, and the medium of theatre does not allow the sort of subtle characterization one can achieve in film. With practically all the actors at least double cast (most playing an adult and a child), figuring out the relationships, let alone the plot, is an ordeal. I think I know what happened, kinda, but how should I feel about it?</p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (now sadly departed), but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics.</p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage.</p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space)</p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnádi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. (studio space)</p>
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<p><strong>MU Színház (MU Theater)</strong></p>
<p><strong><em>Délibab </em></strong>[Mirage] In an interview prior to the debut, choreographer Adrienn Hod claimed that the performance was about her conflicting attitudes about being Hungarian, but most of the time, she seems to be taking the piss out of her super-serious legion of home-grown fans. How long can they bear to watch the absurd goings-on without laughing? For the interminable first hours or so, the six dancers evolve along their individual journeys through movement and vocalization. Then, there is a series of partially nude dances to Bartók’s “Songs for Children”, which challenges our preconceptions of gender-based behavior. New talents are also showcased. Good show, Hodworks Company!</p>
<p><strong><em>Hűség</em></strong> [Loyalty] The k2 Company’s bare-bones stage adaptation of <em>Death is My Trade </em>by Robert Merle recreates the life of Rudolf Lang (practically a stand-in for Rudolf Hess) with three actors in the round and basically no set. Zsolt Domokos, in a concentrated performance, provides a convincing portrait of “the banality of evil” (originally said of Eichmann). Still, what saves this material from being a dry history lesson is the burst of much-needed passion and humanity near the end, supplied by Anna Boros.</p>
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<p><strong>Nemzeti Színház (National Theater)</strong></p>
<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Director Vidnyánszky, Sr. is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work.</p>
<p><strong><em>Buborékok </em></strong>[Bubbles] This long-neglected comedy (written by Gergely Csiky in 1884) was last revived at the National in 2004, only to prove surprisingly popular with audiences (perhaps due to the star power of its cast). Still, I will not be seeing the current revival directed by Vidnyánszky, Sr., since I despise this paternalistic play, which teaches us that if a man does not take control of his household (by physical means, if necessary), he will be driven to ruin by his wife and foolish daughters.</p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself.</p>
<p><strong><em>Vitéz lélek</em></strong> [Valiant Spirit] One of Áron Tamási’s lesser-known plays, it receives a lavish production here with well-conceived set and lighting designs. Typical of the author, it mixes pastoral realism and fairy-tale, but the construction is somewhat lopsided. Actor Lajos Ottó Horváth must single-handedly bear enough tragedy for two plays (or one Calderón drama) in the last act, but he does so admirably. At the end, a hymn resounds, as though we are inside a large organ, no doubt to underscore the roots of Hungarian Catholicism in rural Transylvania.</p>
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<p><strong>Örkény István Színház (István Örkény Theater)</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great.</p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake.</p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment.</p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises.</p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment.</p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are Richárd Kehi’s lighting effects, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space)</p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space)</p>
<p><strong><em>Édes Anna </em></strong>[Sweet Anna] Dezső Kosztolányi’s slim, splendid 1926 novel about an enigmatic, long-suffering, and ultimately homicidal serving maid seems perfect for a creative stage adaptation, but director Zita Szenteczki and dramaturge Bence Biró trot out all the dull and tired modern techniques. The result is not illuminating in the slightest, and none of the talented actors manage to capture what was so fascinating about these characters on the page. Best to read the book, which is available in English translation. (studio space)</p>
<p><strong><em>Kertész utcai Shax mosó </em></strong>[Shax Car Wash on Kertész Street] You may be shocked by this irreverent, profane, high-octane adaptation of <em>Romeo and Juliet. </em>The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes.</p>
<p><strong><em>Lót – Szodomában kövérebb a fű </em></strong>[Lot; or, The Grass is Greener in Sodom] The unexpected death of author János Térey, at age 48 in 2019, is especially poignant when watching this unfinished work. What could he have accomplished with a couple more drafts? What could he have accomplished with a couple more years? Nonetheless, despite some very capable direction by Balázs Koválik and an impressive set by Csaba Antal, this retelling of the Biblical tale is not quite stage-worthy. Also, despite passionate performances by Éva Kerekes and Natasa Stork, the female characters’ motivations do not ring true.</p>
<p><strong><em>Macbeth </em></strong> The framing device for this take on the Scottish Play is a museum exhibit of a crown, before the four security guards/tour guides begin re-enacting the events of the play. The highlight for me was the banquet scene, held in the lobby of the space, where we were treated to water and <em>pogácsa </em>(little savory biscuits) while Mr. and Mrs. Macbeth sang a popular number from the operetta <em>Queen of the Csardás. </em>Still, for native English speakers, this version will not add much to your appreciation of the original. (studio space)</p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space)</p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics.</p>
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<p><strong>Pesti Színház (Pesti Theater)</strong></p>
<p><strong><em>A Nyugat császára </em></strong>[Playboy of the Western World] Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three, with a dynamite fight sequence.</p>
<p><strong><em>II. Richárd </em></strong>[Richard II] With a line-up evidently meant to show off the company’s young talent, world-class Transylvanian director Gábor Tompa takes on Shakespeare’s challenging history play, adding a brief interlude to introduce three figures at the beginning – which makes emotional sense, sort of, but does little to illuminate the complicated political intrigues. On the plus side, Miklós H. Vecsei is well-cast as the irresponsible monarch. He is not as flamboyant as he could be, but he is flashy and definitely understands the self-indulgent histrionics of the role. The costumes are less inspired for the king’s favorites (Bagot, Green, and Bushy), who come across as nondescript, as does Attila Vidnyánszky, Jr. in the key role of Bolingboroke (soon to be Henry IV). I struggle to remember his performance. The famous garden scene was replaced by a drug-inspired vision among the queen and her decadent ladies-in-waiting. The result is visually arresting, but less than coherent.</p>
<p><strong><em>Toldi </em></strong> This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand.</p>
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<p><strong>Radnóti Színház (Radnóti Theater)</strong></p>
<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat.</p>
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<p><strong>RS9 Színház (RS9 Theater)</strong></p>
<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Bankhitel</em></strong> [Bank Credit] Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they will make use of the same animated clips, which so effectively hinted at the play’s larger themes.</p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire.</p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen.</p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere.</p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin).</p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr. takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs.</p>
<p><strong><em>Trip </em></strong>In this play, written and directed by Imre Baksa, two heterosexual couples engage in lies, infidelity, and drug use, unaware how close they are to emotional hell. The production blends comedy, tragedy, and absurdity, as well as effective live vocalization (music courtesy of Zoltán Friedenthal) and trips into an alternate fairy-tale reality. Despite some troublingly negative female tropes, the experience is stunningly one-of-a-kind, and the cast is incredibly game.</p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles.</p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting.</p>
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<p><strong>Stúdió K (Studio K)</strong></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence.</p>
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<p><strong>Szkéné Színház (Szkéné Theater)</strong></p>
<p><em>I. <b>Erzsébet</b></em> [Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some troubling stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici).</p>
<p><em>42. <b>hét</b></em> [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended!</p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed.</p>
<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed.</p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable.</p>
<p><strong><em>Bányavakság</em></strong> [Mine Blindness] The second (and most satisfying) installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania focuses on politics, scandal, and blackmail, topped off with a dollop of ethnic tension and violence. The misery may seem a bit overdone by the end, but Gergő Kaszás is spectacular in the lead role.</p>
<p><strong><em>Bányavíz</em></strong> [Mine Water] The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible.</p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role.</p>
<p><strong><em>Parasztopera</em></strong> [Peasant Opera] Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see!</p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended!</p>
<p> </p>
<p><strong>Tesla Teátrum (Tesla Theater)</strong></p>
<p>Located along a picturesque stretch of one of Budapest’s throbbing party streets (that is, when we are not in lock-down). The Tesla now functions as the more experimental studio wing of Radnóti Theatre.</p>
<p><strong><em>Gina </em></strong> This fresh work penned by film director Mihály Schwechtje pulls no punches, and unlike many new plays, its milieu is startlingly up-to-date. Gina refers to a date-rape drug administered to an under-aged girl at a party attended by the championship water polo team of a small town, which is due to receive a large government subsidy to build a sports facility. What unfolds is not sad because it is awful, but because it is so damn plausible. Social media is instantly in an uproar. The coach of the water polo team has enough clout to intimidate the senior female investigator assigned to the case. The parents of a boy accused of wrongdoing turn on one another, each blaming the other’s parenting style for what their son might have done. In the midst of this, there is the victim, who simply wants to know what happened to her during the time she blacked out. This is an auspicious play, but unfortunately, the playwright directed it himself, where an experienced theatre artist could have done better. At one point or another, he has certain characters go through an exaggerated emotional upheaval onstage, which pushes these dramatic moments toward ironic or unintended comedy. On the whole, the cast is strong; however, Orsolya Török-Illyés, best known for her film work, visibly lacks stage technique. That is a shame, since she taps into deep emotion quite naturally.</p>
<p><strong><em>A vágy </em></strong>[Desire] While not as scabrous as some of Franz Xaver Kroetz’s works, staging this piece definitely demonstrates the daring of the Radnóti company. When a gardener takes in his wife’s nephew (just released from prison on account of a sex crime), the young man assures him he is harmless due to the libido-suppressing drug he must take; however, just the presence of this blank-slate Adonis turns the homeowner’s world upside down. While I do not find anything revolutionary in the material (which plays out like a middle-aged man’s insecurities before becoming wish fulfillment), the author can certainly make the audience squirm by throwing light on ordinary people’s intimate deeds. The cast is fearless (especially Zoltán Schneider and Adél Kováts as the older couple), Róbert Alföldi directs sex scenes like no one else, and I liked the details in the quasi-realistic set by Eszter Kálmán. </p>
<p> </p>
<p><strong>Trafó House of Contemporary Arts</strong></p>
<p><strong><em>Kálvária lakópark</em></strong> [Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under odd circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, Kálmán Varju inhabits most seamlessly this uncannily funny, disturbing, and memorable world.</p>
<p><strong><em>Pirkad </em></strong>[Dawn] Two completely nude male-female couples perform Adrienn Hód’s roughly 50 minutes of choreography, building to a shuddering climax before lapsing into catatonic calm. A must-see for fans of modern dance, but absolutely inappropriate for a fist date. </p>
<p><strong><em>Otthon </em></strong>[At Home] The Dollar Company’s modern adaptation of Strindberg’s rarely-staged family drama <em>The Pelican</em> fearlessly mines the deeper currents of this disturbing work. The four actors perform in a dance rehearsal room with seating on three sides, while the mirrored fourth wall pitilessly exposes all of their tics and gestures. Instead of being mere evil villains, director Tamás Ördög and Krisztina Urbanovits leaves subtle clues as to what motivates their monstrous behavior. My one small complaint is that Emőke Kiss-Végh seemed too strong and self-aware as the daughter. It is hard to imagine her being a passive victim.</p>
<p> </p>
<p><strong>Turay Ida Színház (Ida Turay Theater)</strong></p>
<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience.</p>
<p><strong><em> </em></strong></p>
<p><strong>Újszínház (New Theater)</strong></p>
<p><strong><em>A bolondok grófja </em></strong>[The Count of Fools] Based on a tale by Romantic writer Mór Jokai, a man seeks to regain his ancestral estate, only to find it has been repurposed as an insane asylum. Can he assert his authority over them as their assumed lord, and what of the comely lass who never speaks, but only sings touching folk songs? This all packaged as a comedy, and the acting talent ranges from competent to community-theatre amateur. Overall, it plays like children’s theatre for adults, and it is tedious at times.</p>
<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest.</p>
<p><strong><em> </em></strong></p>
<p><strong>UP Újpesti Rendezvénytér (Events Building of Újpest)</strong></p>
<p>Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.</p>
<p><strong><em>Anyaszemefénye </em></strong>[The Glimmer in Mom’s Eye] For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ernő Fekete from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?”</p>
<p><strong><em>Vérvörös Törtfehér Méregzöld </em></strong>[Blood Red, Broken White, and Toxic Green] You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ <em>Oedipus Rex. </em>His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. </p>
<p><strong> </strong></p>
<p><strong>Vígszínház (Comedy Theater)</strong></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style.</p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space)</p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche.</p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space)</p>
<p><strong><em>Az öreg hölgy látogatás </em></strong>[The Visit] Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbra Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has order the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. </p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it.</p>
<p><strong><em> </em></strong><em>See you at the theaters - when they re-open!</em></p>
<p><span> </span></p>
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0
Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/09/02/my_recommendations_for_september
MY RECOMMENDATIONS FOR SEPTEMBER 2019
2019-09-02T10:13:49+02:00
2019-09-02T10:13:49+02:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><img src="https://m.blog.hu/th/theatredaemon/image/cff324d617decb201fac0fbde96bc569.jpg" alt="Image result for the thinker rodin" width="567" height="617" /></p>
<p> </p>
<h2>Dear readers, this month I am trying something new. I am listing the shows that I would like to see. These are not reviews, since I have not seen these productions (with the exception of one that I would like to see again). They are the entertainment choices I would make on my own behalf.</h2>
<p> </p>
<p>Obviously, I cannot see all of these performances. That would be impossible. Some evenings I have work to do, and other times I am unable to get tickets. However, this may be a more effective tool for planning your entertainment month without having to read through my voluminous listings of theatrical offers. Also, it will be especially handy if you are planning on stalking me.</p>
<p>So, without further ado, here are my recommendations for the upcoming month, listed chronologically by date. Some entries appear on multiple dates, so you can adjust your schedule accordingly.</p>
<p> </p>
<h4><strong>SEPTEMBER 8th</strong></h4>
<p><strong>Munkavégzés során nem biztonságos</strong> (Not Safe for Work) -- How do male and female magazine editors manipulate their readers through images? What are the ethics involved when stirring up controversy? This English play by Lucy Kirkwood explores these issues. (Performed in Hungarian, naturally!) <strong>Katona Studio at 7pm</strong></p>
<p><strong> </strong></p>
<h4><strong>SEPTEMBER 15th</strong></h4>
<p><strong>Egy piaci nap</strong> (One Market Day) -- This new play by successful writer Pál Zavada received very good reviews. It has a good cast and a talented, experienced director. <strong>Radnóti Theater at 7pm</strong></p>
<p><strong> </strong></p>
<h4><strong>SEPTEMBER 16th</strong></h4>
<p><strong>Rozsdatemető 2.0</strong> (Junkyard 2.0) -- Sixty years in the life of a Budapest family as they live through all the cataclysms of the twentieth century. <strong>Katona József Theater at 7pm</strong></p>
<p><strong>Egy piaci nap</strong> (One Market Day) -- This new play by successful writer Pál Zavada received very good reviews. It has a good cast and a talented, experienced director. <strong>Radnóti Theater at 7pm</strong></p>
<p><strong> </strong></p>
<h4><strong>SEPTEMBER 17th</strong></h4>
<p><strong>Rozsdatemető 2.0</strong> (Junkyard 2.0) -- Sixty years in the life of a Budapest family as they live through all the cataclysms of the twentieth century. <strong>Katona József Theater at 7pm </strong></p>
<p><strong> </strong></p>
<h4><strong>SEPTEMBER 19th</strong></h4>
<p><strong>Régi és új dalok </strong>(New and Old Songs)<strong> </strong>-- A concert of trios for the female voice with piano accompaniment. <strong>Bartók Memorial House at 6pm</strong></p>
<p><strong> </strong></p>
<h4><strong>SEPTEMBER 20th</strong></h4>
<p><strong>Hurok</strong> (Strings) -- A talented director and strong cast bring us this commentary on modern politics – that is, the mechanism whereby the stupidity of politicians affects society. <strong>Jurányi Incubator House at 8pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 21st</strong></h4>
<p><strong>Mi történt Baby Jane-nel?</strong> (Whatever Happened to Baby Jane?) -- It will be impossible to top the classic film with Bette Davis and Joan Crawford. Still, it may be fun to see the theatrical results. <strong>Hatszín Theater at 7pm</strong></p>
<p><strong>Mondjad, Atikám!</strong> (Tell Us, My Little Attila!) -- This program about the writing of beloved poet Attila József seeks to uncover the secret of the artist’s brilliance and his tragic life. It may be difficult to follow, though. It is a one-man-show performed by the admittedly talented Miklós H. Vecsei. <strong>Pesti Theater at 7pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 22nd</strong></h4>
<p><strong>Mi történt Baby Jane-nel?</strong> (Whatever Happened to Baby Jane?) -- It will be impossible to top the classic film with Bette Davis and Joan Crawford. Still, it may be fun to see the theatrical results. <strong>Hatszín Theater at 7pm</strong></p>
<p><strong>Woyzeck -- </strong>This unfinished play by Büchner premiered in 1913, and when well done, it is one of the most frightening pieces for the stage, unreeling like a fractured and unstoppable nightmare. How good is the version at the National Theater? I don’t know, but it has received positive feedback. It is directed by the son of the National Theater’s manager. <strong>National Theater at 7:30pm</strong></p>
<p><strong>Bakkhánsnők</strong> (The Bacchae) -- The classic ancient Greek drama about sexual repression by Euripides as performed by students of the drama academy. <strong>Ódry Theater at 7pm</strong></p>
<p><strong>A halottember</strong> (The Dead Man) -- I do not know much about this play. A friend told me it was good. The first part is mostly a monologue by one actress, so it may be hard to understand. <strong>Szkéné Theater at 7pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 23rd</strong></h4>
<p><strong>Woyzeck </strong>-- This unfinished play by Büchner premiered in 1913, and when well done, it is one of the most frightening pieces for the stage, unreeling like a fractured and unstoppable nightmare. How good is the version at the National Theater? I don’t know, but it has received positive feedback. It is directed by the son of the National Theater’s manager. <strong>National Theater at 7:30pm</strong></p>
<p><strong>KépMás</strong> (LikeNess) -- This performance includes young actors with autism to enlighten the audience about the condition, as well as to give insight into their lives and how to interact well with them. <strong>RS9 Theater at 7pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 24th</strong></h4>
<p><strong>Gypsinspire</strong> (Gypsy Inspire) -- A concert with Lajos Sárközy and his orchestra. <strong>MOM Culture Center at 7:30pm</strong></p>
<p><strong>Woyzeck -- </strong>This unfinished play by Büchner premiered in 1913, and when well done, it is one of the most frightening pieces for the stage, unreeling like a fractured and unstoppable nightmare. How good is the version at the National Theater? I don’t know, but it has received positive feedback. It is directed by the son of the National Theater’s manager. <strong>National Theater at 7:30pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 26th</strong></h4>
<p><strong>Emlékhangverseny </strong>(Memorial Concert) -- On the anniversary of Bartók’s death, László Borbély will play an evening of piano music. <strong>Bartók Memorial House at 6pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 27th</strong></h4>
<p><strong>Az apostol</strong> (The Apostle) -- What if revolutionary poet Sándor Petőfi came to earth now and tried to solve our problems with his nineteenth-century mindset? This production tackles that question, while leading the audience to different acting spaces outside the theater. <strong>MU Theater at 7pm</strong></p>
<p><strong>A jazz hercege</strong> (The Prince of Jazz) -- This is a play with music, directed by János Kókai, who has produced appealing shows in the past. <strong>RS9 Theater at 8pm</strong></p>
<p><strong>Az eltört korsó</strong> (The Broken Pitcher) -- The only comedy written by German playwright Heinrich von Kleist in the early 19th century. Here it is performed by a group from Salgótárjan, capital of Nógrád County in northern Hungary. <strong>Szkéné Theater at 7pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 28th</strong></h4>
<p><strong>Az eltört korsó</strong> (The Broken Pitcher) -- The only comedy written by German playwright Heinrich von Kleist in the early 19th century. Here is is performed by a group from Salgótárjan, capital of Nógrád County in northern Hungary. <strong>Szkéné Theater at 7pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 29th</strong></h4>
<p><strong>Bernd Róza (Rose Bernd) -- </strong>This German drama, written by Gerhart Hauptmann in the early 20th century, is practically unknown in Hungary and, I dare say, in most of the English-speaking world. The new production will be a chance to rediscover it. <strong>Thália Theater at 7:30pm</strong></p>
<p> </p>
<h4><strong>SEPTEMBER 30th</strong></h4>
<p><strong>Selejtesek</strong> (The Inferior) -- Young performers unveil problems in the health care system as experienced by Roma (or gypsies). In the press release, they claim that they are seeking solutions, not merely complaining about their sufferings. <strong>RS9 Theater at 6pm</strong></p>
<p> </p>
<h4><strong>OCTOBER 1st</strong></h4>
<p><strong>The Bald Soprano </strong>-- A rare evening of English-language theatre! Talented thespian Roderick Hill tries his hand at bringing this absurdist masterpiece to the stage, perhaps revealing how Ionesco’s nonsensical vision is now more realistic than ever. <strong>Három Holló (Three Crows) at 7pm</strong></p>
<p> </p>
<h4><strong>OCTOBER 2nd</strong></h4>
<p><strong>Eltűnő ingerek</strong> (Vanishing Impulses) -- Andrea Pass’s new piece not only explores how a domineering man’s family is affected by his debilitating stroke, but also how his mind gradually disintegrates. An ambitious work by one of Hungary’s best contemporary dramatists. <strong>Trafó House of Contemporary Dance at 8pm</strong></p>
<p> </p>
<p> </p>
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Budapest Theatre Digest
https://theatredaemon.blog.hu
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https://theatredaemon.blog.hu/2019/05/19/guide_to_performances_in_may_850
GUIDE TO PERFORMANCES IN MAY 2019
2019-05-19T11:32:58+02:00
2019-05-19T11:32:58+02:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><strong><img src="https://m.blog.hu/th/theatredaemon/image/35868d42ddea35b3fd824e4da6d3fe69.jpg" alt="Image result for boy thinking pictures" width="616" height="470" /></strong></p>
<p> </p>
<p> </p>
<p><strong></strong><strong>Here is your guide to the performance options in May 2019.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
<p> </p>
<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
<p> </p>
<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Kaiser TV, Ungarn</em></strong><em> </em>Time travel and a mythical 19<sup>th</sup>-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. <strong>May 4, 5</strong></p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending may just be worth the 3-hour running time. <strong>May 14, 17</strong></p>
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<h2><strong>B32 Galéria (Gallery at 32 Béla Bartók Road)</strong></h2>
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<p><strong><em>Rebeka </em></strong>Dissociative Identity Disorder offers plenty of scope for drama, especially when the psychiatrist falls in love with one of his patient’s alter-egos. If you accept the modicum of silliness inherent in the genre, Borbála Szabó’s script serves up a very effective psychodrama. Niké Kurta and Géza Egger bring the story to life brilliantly, and even the set is cool. Sometimes, though, Attila Balogh’s direction can be overbearing – for example, when the ambient noise drowns out some dialogue. Great show! <strong>May 12, 13</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>May 19</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath’s 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door-slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>May 9</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>Luxemburg Grófja </em></strong>[The Count of Luxembourg] Far less memorable than Lehár’s classic <em>The Merry Widow</em>, the plot here is thin and improbable, even by operetta standards. The producers try to distract us with razzle-dazzle, but the tropes here (freewheeling Bohemians in Paris) are so watered-down, they become meaningless. Tamás Földes is quite spirited as the buffoonish Sir Basil, but then he performs a maddeningly superfluous rap while male dancers in black-face cavort nearby. When will Hungarian theatre-makers learn that this is not cool? <strong>May 3, 4</strong></p>
<p><strong><em>A víg özvegy</em></strong> [The Merry Widow] This undisputed classic of operettas by Ferenc Lehár is not the lightest example of the genre. There is more plot and dialogue here than usual. Still, romantic leads Barbara Bordás and Attila Dolhai really sell the material, although the latter is sometimes weak on his high notes. Over-produced at times (like the drunken number that Dolhai performs with a chorus line of tipsy dance doubles), it nevertheless captures the blithe absurdity of this fun piece. <strong>May 29, 30</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>May 11, 15, 22, 25</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
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<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>Manon Lescaut </em></strong><em></em>In place of their standard, boring, but workman-like production of eight years ago, the Opera House has commissioned a new direction of Puccini's potboiler which fails to deliver. It is too inept in its traditionalism to convey the plot properly, and the modern touches feel superfluous or worse. Perhaps the weakest part is Act One, which has no unified visual style and seems costumed from four different operas. Also an arriving car effect falls so flat, it makes you wonder, "Why did they bother?" Close your eyes during the overture to Act Three in order to miss the tacky video. Plus, the massive set is immobile, and they do not mask it for the final scene in the desert, so just pretend it is not there. That said, the work itself is beautiful and heart-wrenching, the orchestra plays well, and the singers are by and large up to the vocal challenges. <strong>May 18, 21, 25, 28, 30</strong></p>
<p><strong><em>Tosca </em></strong>The success of this traditional and attractive rendition of Puccini’s suspenseful crime story (based on a play by Sardou) depends much upon the cast. Gyöngyi Lukács is a safer bet in the title role. Both Anatolij Fokanov and Alexandru Agache make good villains as Scarpia. <strong>May 19, 29</strong></p>
<p><strong><em>A Nyugat lánya </em></strong>[The Girl of the Golden West]<strong> </strong>Don’t expect much Wild West in the Erkel’s new production<em>. </em>Russian director Vasily Barkhatov has envisioned a pipe commune filled with a diverse mix of immigrants and itinerant workers. Minnie, the heroine, appears as a dowdy aid worker. For the first two acts, the concept works. The orchestra plays brilliantly, and the male chorus is good; only the static set hinders the ensemble acting, and some of the blocking is clunky, as are the spoken bits. Then, in act three, all logic goes out the window, which is frustrating. Puccini was not only a master composer, but a master dramaturge. The production would have been much more successful if the producers had remained true to the original. This opera is overdue for reappraisal. It is just as tear-jerking as Puccini’s “classics,” the music is glorious, and it is more uplifting than his other works, expressing how Mankind is capable of mercy and how redemption is always possible. (As for the cast, Szilvia Rálik is more credible as Minnie than Éva Bátori. Boldizsár László may be a safer bet than Gergely Boncsér in the role of Dick Johnson. Both Csaba Szegedi and Florin Estefan are decent as Sheriff Rance.) <strong>May 22, 24</strong></p>
<p><strong><em>Pillangókisasszony </em></strong>[Madame Butterfly] This uneven production can be very emotionally moving. The cast is not very convincing as natives of Japan, but the set by Kentaur is attractive and strikingly minimal. The staging is often effective, but then the appearance of Kate (Pinkerton’s American bride) is mishandled. All things considered, the good outweighs the bad. <strong>May 23, 25</strong></p>
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<h2><strong>Fészek Klub (Nest Club)</strong></h2>
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<p><strong><em>Jubileumi Beszélgetések</em></strong> [Jubilee Talks] Sadly not an adaptation of the Book of Jubilees from the Apocrypha, this begins as a panel discussion to celebrate the twentieth anniversary of the Béla Pintér Company, then enters a nightmarish alternate reality where the cast indulges in drugs, cannibalism, and anal rape. The writer-director has some choice words for Attila Vidnyánszky, Sr., and the scrapping of the theatre subsidy program (TAO). Also, there is some wild slapstick with former prime minister Ferenc Gyurcsány, but perhaps only because actor Sándor “Qpa” Bence bears an uncanny resemblance to the politician. Ultimately, however, this is a 70-minute in-joke; and despite the over-the-top violence, it is not very biting. <strong>May 29, 30, 31</strong></p>
<p><a href="https://theatredaemon.blog.hu/2019/03/01/trouble_with_tao" target="_blank" rel="noopener noreferrer"><em>For a related article, click here. </em></a></p>
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<h2><strong>Hatszín Teatrum</strong></h2>
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<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>May 2, 29</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>May 6, 7, 8, 30</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>III. Richárd </em></strong>[Richard III] For the first half, famed Romanian director Andrei Şerban, who is keen on turning up the house lights and implicating the audience in the story, shows us why he is a master of modern direction. He makes the most of the smallest details, his color scheme is a bold contrast of black and yellow, and he practically scores his dialogue with sound effects, cued to the actors’ lines and stage business. It can be a challenging medium for the performers, however, who must somehow imbue these figures with life. Róbert Alföldi (who is plagued by more tics and insecurities than most Richards) succeeds, as does András Pál (as Buckingham). József Kelemen as Hastings has stunning blue eyes, but relies too much on tired bits. Zsolt László is arresting as the dethroned Queen Margaret, Zoltán Schneider is hilarious as a spokesman riffing his way through the extended coronation scene, and Adél Kováts flies under the radar as Elizabeth to delivers a concluding speech that is haunting in its restraint. Still, the play suffers when we lose sight of the human drama, which is often drowned out by distracting light and sound effects in the bombastic second act. <em>Guest performance by the Radnóti Theatre. </em><strong>May 6, 7</strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>May 14, 28</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>May 2, 14</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>May 9, 23</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>May 10, 30</strong></p>
<p><strong><em>A Pitbull Cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy. <strong>May 14</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Bunbury </em></strong>[The Importance of Being Ernest] This staging of Oscar Wilde’s classic is strictly by-the-book, ignoring the gay subtext of the original. Still, most of the humor seems to fly over the Hungarian audience’s heads. The costumes are attractive, as are the actors, particularly Zalán Makranczi as John Worthing and Ildikó Tornyi as Gwendolen Fairfax. <strong>May 3, 11</strong></p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>May 15</strong></p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>May 19</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>May 25</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><strong><em>Elnöknők </em></strong>[Leading Ladies] This absurd piece by Werner Schwab premiered in 1996 and survives to this day thanks to sublimely grotesque performances by Judit Pogány, Ági Szirtes, and Eszter Csakányi. The piece itself, however, is little more than an ad hoc collection of shocking bits and set pieces. (studio space) <strong>May 1</strong></p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>May 2, 31</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/11/a_doll_s_house_and_the_art_of_the_bluff" target="_blank" rel="noopener noreferrer"><em>For a more detailed review, click here.</em></a></p>
<p><strong><em>Pali </em></strong>In a prime example of verbatim theatre, actress Zsófia Számosi deeply internalizes the role of Mrs. Paul Maléter – wife of the man who accidently became a leader of the Hungarian Revolution of 1956, only to be arrested and executed by the returning Soviets. She does not break character under any circumstances. Her story is fascinating and very moving at times, but without conflict. It is a fascinating history lesson and character study, but not drama, only story-telling. Also, the back projections are unnecessary and distracting. (basement space) <strong>May 11, 29</strong></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>May 22</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>May 24,25</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>May 24, 25, 29</strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. (studio space) <strong>May 26, 27</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>May 24, 25</strong></p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Szólók</em></strong> [Solos] Living up to the title of their production, the Hodworks company delivers a series of dance and performance solos – not without flashes of humor, most memorably supplied by Csaba Molnár. The audience sits in a single row surrounding the space on four sides. If you do not like to be drawn into the action, be aware that dancer Marcio Canabarro makes direct contact with three or four random audience members during the show. <strong>May 2</strong></p>
<p><strong><em>Hűség </em></strong>[Loyalty] Based on Robert Merle’s 1954 novel <em>Death Is My Trade</em>, this production by the K2 company explores the life of Rudolph Hess and the psychological circumstances capable of creating one of the main architects of Hitler’s Final Solution. The staging is minimal, and at such close quarters, the acting can be over-the-top. At some point, however, the tedious history lesson becomes riveting thanks to Zsolt Domokos’s focused, committed performance as Hess. Anna Boros as the Nazi leader’s wife injects some much needed humanity towards the end. <strong>May 17</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Director Vidnyánszky, Sr. is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>May 5, 6</strong></p>
<p><strong><em>Vitéz lélek</em></strong> [Valiant Soul] One of Áron Tamási’s lesser-known plays, it receives a lavish production here with well-conceived set and lighting designs. Typical of the author, it mixes pastoral realism and fairy-tale, but the construction is somewhat lopsided. Actor Lajos Ottó Horváth must single-handedly bear enough tragedy for two plays (or one Calderón drama) in the last act, but he does so admirably. At the end, a hymn resounds, as though we are inside a large organ, no doubt to underscore the roots of Hungarian Catholicism in rural Transylvania. <strong>May 10</strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>May 19, 20</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/13/inspiration_not_imitation" target="_blank" rel="noopener noreferrer"><em>For a related interview, click here.</em></a></p>
<p><strong><em>Othello </em></strong>Director Csaba Kiss begins with a backstage scene in a make-up chair to justify actor Lajos Ottó Horváth’s “choice” to play the Moor with only one black glove to signal, at strategic times, the hero’s racial identity. This first appearance, half naked, tends to undermine his stature as a heroic warrior. It also highlights the age gap with his co-star, Eszter Ács as Desdemona. The duo has chemistry and earnest emotion in the finale, but the evening as a whole falls flat. They receive good support from Dénes Farkas (as Iago) and Andrea Söptei (as Emilia). Even Kinga Katona provides a solid Bianca. Still, Mari Nagy is miscast as Brabantina (here Desdemona’s mother), and Sebestyén László Szabó is completely out of his depth as the Rodrigo. Tension is deflated again and again, and the spectacle of Shakespeare’s Venice and Cyprus is lackluster, to put it kindly. (studio space) <strong>May 20</strong></p>
<p><strong><em>Shakespeare Összes Rövidítve (SÖR)</em></strong> [The Complete Works of Shakespeare] This crowd-pleaser premiered in New York around 2000, then turned up in Budapest shortly afterwards. It has been packing audiences in for some 15 years now thanks to the contagious antics of the three-member Madhouse troupe, delivering a delightful, and ultimately respectful, romp through classic literature. <strong>In English! </strong>(workshop space) <strong>May 24, 25</strong></p>
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<h2><strong>Örkény István Színház (István Örkény Theater)</strong></h2>
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<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>May 4, 11</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>May 5, 15, 29</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>May 7, 21, 30</strong></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>May 7, 22</strong></p>
<p><strong><em>Patika </em></strong>[Pharmacy] Szép Ernő’s surreal-pastoral comedy receives a thought-provoking overhaul courtesy of the Mohácsi brothers (János as director and István as dramaturge), including some material unthinkable in the original 1919 text. While the protagonist is still the pharmacist’s apprentice Kálmán (played adequately by Máté Novkov, enjoying his first meaty role at the Örkény), additional emphasis is placed on the sad fate of the pharmacist’s wife (skillfully embodied by Réka Tenki). Nonetheless, István Znamenák still steals the second act with his tragicomic-pathetic rant as the drunken, jealous pharmacist. Plus, an additional coda recasts the tiny servant role of Kati (Emőke Zsigmond) not as a life-destroying temptress, but as the unsung heroine of her own cyclical tragedy. Five guest artists provide some new faces in the ensemble. I particularly liked László Felhőfi-Kiss as the professor and Árpád Némedi as the gypsy musician. The live music is also effective. Beware, though, that the running time is well over three hours. <strong>May 8, 19, 24</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>May 8, 30</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>May 9</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>May 10, 27</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>May 10, 15, 29</strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>May 12</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>May 16</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>May 18, 31</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>May 22</strong></p>
<p><em><strong>IV. Henrik</strong></em><strong><em> I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>May 25</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>Mikve</em></strong><em> </em>Stick around for the second half of this contemporary Israeli play about a traditional bath facility for pious Jewish women. You may expect it to be a typical women’s drama with everyone’s secrets revealed and everyone crying on each other’s shoulders by the end, but the drama takes a much more radical turn as the community of women from the <em>mikve</em> band together to defy society. It boasts a fine ensemble cast with great performances all around. Barbara Hegyi, in particular, shows uncommon fire in the role of an abused wife. <strong>May 5</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>May 9, 18</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/02/04/acting_couples" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>May 14, 21, 24, 28</strong></p>
<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus (which threatens to burst the boundaries of the small Pesti stage), he clearly understands the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>May 23</strong></p>
<p><strong><em>John Gabriel Borkman </em></strong>A must-see for Ibsen fans, this late pay shows him experimenting with allegory and a more symbolist style. What occurs onstage is mostly the consequence of actions taken 10 and 18 years before the plot begins. On this occasion, Péter Valló’s direction is quite capable, but occasionally seems tired and uninspired. In the larger-than-life lead roles, Géza D. Hegedűs and Enikő Börcsök both shine. Barbara Hegyi is miscast (or misdirected) as Borkman’s embittered wife. Her character could be far more grotesque. Miklós H. Vecsei does well in his smaller role as the defiant son. <strong>May 26</strong></p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>A Herner Ferike faterja </em></strong>[Frankie Herner’s Father] What was Enikő Börcsök thinking when she directed this turkey of a play? The only thing I can compliment is the set (by József Tóth), which features flats outfitted with three-dimensional details, sometimes wildly out of proportion. Playwright János Hay uses mostly the same characters from his breakthrough work <em>Kid Géza</em>, but here the backwater hicks are mostly mocked for their manifold vices. The dialogue, with its incessant stalling and pseudo-profundities, sounds like bad David Mamet. Plus, the scenes of domestic violence are jarring in a comedy, even a poor and offensive one. The experience left me feeling physically ill. <strong>May 6, 19</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>May 15, 30</strong></p>
<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>May 19, 20, 24, 31</strong></p>
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<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
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<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>May 16</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>May 3, 12</strong></p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>May 9, 10</strong></p>
<p><strong><em>Trip </em></strong>In this play, written and directed by Imre Baksa, two heterosexual couples engage in lies, infidelity, and drug use, unaware how close they are to emotional hell. The production blends comedy, tragedy, and absurdity, as well as effective live vocalization (music courtesy of Zoltán Friedenthal) and trips into an alternate fairy-tale reality. Despite some troublingly negative female tropes, the experience is stunningly one-of-a-kind, and the cast is incredibly game. <strong>May 13</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>May 15, 25</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>May 22</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>May 22</strong><strong><em> </em></strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>May 26</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>May 1</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>May 7, 8, 9</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>May 16</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>May 17</strong></p>
<p><strong><em>A demon gyermekei </em></strong>[The Devil’s Children] The focus of Béla Pintér’s one-act is once again a miserable family, only here the household tyrant is the mother (played fearlessly by the author). Plenty of gender bending (for example, Zoltán Friedenthal’s excellent portrayal of Mónika) and a Japanese setting keep things interesting. The resolution, however, seems rushed, leaving us wishing for more. <strong>May 19, 20, 21, 22, 23</strong></p>
<p><em><strong>I. </strong><b>Erzsébet</b></em> [Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some troubling stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici). <strong>May 27</strong></p>
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<h2><strong>Tesla Teátrum (Tesla Theater)</strong></h2>
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<p><strong><em>Pisti a vérzivatarban </em></strong>[Stevie in the Bloodbath] As a fledgling company, Tesla Teátrum made a poor choice with this absurd comic montage of World War II and its aftermath by celebrated writer István Örkény. The demands of this play far exceed the abilities of the amateur cast, and the questionable humor (when the orphan Jewish girl mocks the soldiers for not bringing enough bullets to shoot them into the Danube River) is difficult to sell. The last similar project in recent memory was the 2014 production <em>E fold befogad… </em>[This Earth Will Accept Me…] directed by János Mohácsi, and even that was only partially successful despite all the resources and talent of the Örkeny Theater. I wish the Tesla company better luck in their future endeavors. <strong>May 14</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Otthon </em></strong>[At Home] Under the direction of Tamás Ördög, the Dollár Papa Company strikes gold with their updated staging of Strindberg’s rarely seen drama <em>The Pelican. </em>Performed minimally in what could be a dance rehearsal room, these flawed characters are piteously exposed to the audience, as the four uncommonly good actors mine the disturbing sub-strata of this unsettling play. I would single out Krisztina Urbanovits as my favorite – perversely intent on inflicting her own misery on her children, yet so banal and everyday, like the nameless women you might meet on public transportation. Emőke Kiss-Végh is also great, but I found her too self-aware as the daughter. Why would she put up with this degrading situation for so long? <strong>May 6</strong></p>
<p><strong><em>Kálvária lakópark</em></strong> [Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under odd circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, Kálmán Varju inhabits most seamlessly this uncannily funny, disturbing, and memorable world. <strong>May 29</strong></p>
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<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
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<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>May 30</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/02/05/rarely_seen_szekely_drama" target="_blank" rel="noopener noreferrer">For a related article, click here.</a></em></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/13/inspiration_not_imitation" target="_blank" rel="noopener noreferrer"><em>For a related interview, click here.</em> </a></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>May 18</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>May 1, 5, 14, 18</strong></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>May 2, 9, 23, 24</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>May 2, 23</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>May 7</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>May 14</strong></p>
<p><strong><em>Bűn és bűnhődés </em></strong>[Crime and Punishment] Director Michal Dočekal creates a unified look and a clever “crime scene” conceit for this intelligent précis of Dostoevsky’s classic novel, but practically no one in the talented cast can live up to the larger-than-life characters (possible exceptions being Zoltán Karácsonyi as Svidrigailov and Miklós H. Vecsei in his one-minute appearance as Mikolka). András Stohl evokes the Columbo side of committed police inspector Porfiry’s personality, but fails to bring out the character’s transcendent nature. Rather than soar to redemptive heights, this production remains earthbound. <strong>May 17</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>May 17</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/11/04/talented_women_dramatists" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
<p><strong><em>Hamlet</em></strong> For the first time in its long history, Vígszínház hosts the Danish prince and does so on a wondrous set that lifts, descends, rotates, lights up, shows videos, etc. Still, the dramaturgy gets a little wonky, starting off with a <em>dues ex machine</em> (the ghost’s appearance), but then not following through with it. (I could imagine Fortinbras appearing at the end in the same fashion, but certainly not Laertes.) Attila Vidnyánszky, Jr., brings astounding energy and physicality to his battle with this unwieldy text, but he seems to be abusing his vocal chords for the last two hours. In the second half, there is a purifying pool of water, where Hamlet and Gertrude (Enikő Börcsök) share an incestuous kiss, and where King Claudius (Géza D. Hegedűs) and Ophelia (Nóra Réti) take separate nude dips (the former flamboyantly, the latter bashfully). All in all, the message is difficult to discern. Who is this Hamlet who impersonates his mother in drag before the whole court, and who has much more chemistry with the Player King (Károly Hajduk) than with Ophelia? He begins to resemble Helmut Berger’s character from the Visconti film <em>The Damned. </em>On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. <strong>May 19</strong></p>
<p><strong><em>Liliom </em></strong>Vinyánszky, Jr’s directorial debut on the main stage takes on Ferenc Molnár’s metaphysical comedy-drama-romance, which centers on the anti-hero Liliom, an amusement park worker and small-time criminal. The play is both fascinating and troubling. The director loads on the effects at the beginning: spare set, live music, motion acting, and use of walnuts as a unifying metaphor. Unfortunately, he does not follow through with most these ideas, while some of the actors’ roles are disappointingly one-note (Ákos Orosz as Ficsur and Enikő Eszenyi as Mrs.Muskát). As usual, the actress in the supporting role of Marika (Andrea Waskovics) steals the show. <strong>May 21, 26</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charmi</p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/03/01/guide_to_performances_in_march_2019_part_2_p-v
GUIDE TO PERFORMANCES IN MARCH 2019 (Part 2, P-V)
2019-03-01T09:38:54+01:00
2019-03-01T09:38:54+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://ak6.picdn.net/shutterstock/videos/7909276/thumb/1.jpg" alt="Image result for girl chewing pen pictures" /></p>
<p> </p>
<p><strong>Here are more entertainment options for March 2019.</strong></p>
<p><strong>Entries are listed by theater or venue.</strong></p>
<p> </p>
<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>March 5, 21</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>March 6, 22</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/02/04/acting_couples" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>John Gabriel Borkman </em></strong>A must-see for Ibsen fans, this late pay shows him experimenting with allegory and a more symbolist style. What occurs onstage is mostly the consequence of actions taken 10 and 18 years beforehand. On this occasion, Péter Valló’s direction is quite capable, but occasionally seems tired and uninspired. In the larger-than-life lead roles, Géza D. Hegedűs and Enikő Börcsök both shine. Barbara Hegyi is miscast (or misdirected) as Borkman’s embittered wife. Her character could be far more grotesque. Miklós H. Vecsei does well in his smaller role as the defiant son. <strong>March 11, 12, 16</strong></p>
<p><strong><em>Mikve</em></strong><em> </em>Stick around for the second half of this contemporary Israeli play about a traditional bath facility for pious Jewish women. You may expect it to be a typical women’s drama with everyone’s secrets revealed and everyone crying on each other’s shoulders by the end, but the drama takes a much more radical turn as the community of women from the <em>mikve</em> band together to defy society. It boasts a fine ensemble cast with great performances all around. Barbara Hegyi, in particular, shows uncommon fire in the role of an abused wife. <strong>March 19</strong></p>
<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus (which threatens to burst the boundaries of the small Pesti stage), he clearly understands the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>March 31</strong></p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>A Gézagyerek </em></strong>[Kid Géza] János Hay’s first successful play is probably his best, with a cast of well-intentioned quarry workers as heroes and Géza, the safety inspector with autism sitting in high crane, as an unlikely symbol of God. The production here has plenty of good actors, but the writing is heavy-handed at times. The lackluster direction and nondescript set hardly help. Still, it is a decent humanist tragicomedy with an impressively focused performance by Géza Takács (as Géza) and a touching portrayal of his mother by the wondrous Enikő Börcsök. <strong>March 3, 25</strong></p>
<p><strong><em>A Herner Ferike faterja </em></strong>[Frankie Herner’s Father] What was Enikő Börcsök thinking when she directed this turkey of a play? The only thing I can compliment is the set (by József Tóth), which features flats outfitted with three-dimensional details, sometimes wildly out of proportion. Playwright János Hay uses mostly the same characters from his breakthrough work <em>Kid Géza</em>, but here the backwater hicks are mostly mocked for their manifold vices. The dialogue, with its incessant stalling and pseudo-profundities, sounds like bad David Mamet. Plus, the scenes of domestic violence are jarring in a comedy, even a poor and offensive one. The experience left me feeling physically ill. <strong>March 14, 22</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>March 2, 14, 16, 22</strong></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>March 26</strong></p>
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<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
<p><strong> </strong></p>
<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>March 20</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
<p> </p>
<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>March 1</strong></p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Ultimately, the actresses prove better than the actors at fleshing out their roles. <strong>March 2, 3</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>March 5</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] I am revising my original review of this production, because it has matured well. The base material by Milán Füst is brilliant with infinitely complicated human relations that practically defy the limits of the theatrical medium. The actors take risks, throwing themselves wholeheartedly into the World War I milieu. Still, the final impression can be baffling. Take some Hungarian friends and argue far into the night about what you have seen. <strong>March 9, 24</strong></p>
<p><strong><em>Egy perccel tovább </em></strong>[One Minute More] Gábor Jászberényi and Zsófia Kondákor play out variations on the emotional life of a couple, but despite their commitment, it is a 75-minute trip to nowhere. <strong>March 9, 21</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>March 13, 30</strong></p>
<p><strong><em>Folyóügy</em></strong> [Case in Progress] A clever set and lively stage movement brighten up Braun Barna’s cabaret-like vignettes of Hungarian reality. There are plenty of laughs of recognition, not a terrible amount of depth, and at least one troubling stereotype. Stand-outs in the cast are Katalin Merai and Gábor Jaszberényi. <strong>March 17</strong></p>
<p><strong><em>Trip </em></strong>In this play, written and directed by Imre Baksa, two heterosexual couples engage in lies, infidelity, and drug use, unaware how close they are to emotional hell. The production blends comedy, tragedy, and absurdity, as well as effective live vocalization (music courtesy of Zoltán Friedenthal) and trips into an alternate fairy-tale reality. Despite some troublingly negative female tropes, the experience is stunningly one-of-a-kind, and the cast is incredibly game. <strong>March 18, 19</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>March 30</strong></p>
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<h2><strong>Spirit Színház (Spirit Theater)</strong></h2>
<p><strong> </strong></p>
<p>When you enter Spirit Színház (near Elvis Presley Park just north of Margaret Bridge on the Buda side), you are confronted with an aquarium, then a long hall with a coat check, exposed brick, books for sale, a buffet, a confusing mix of decorations, and live piano music. Audience members line up well before they are allowed into the nondescript studio space upstairs, and with reason. There is practically no hope of a good view of the acting space if you sit anywhere behind the fourth row.</p>
<p><strong><em>Bernarda Alba háza</em></strong> [House of Bernarda Alba] This classic play about sexual repression by Frederico Garcia Lorca is sensational; yet, all the elements here – the set, costumes, staging, and characterizations – fall a bit below the mark, not quite capturing the claustrophobia, hysteria, and menace of the original. The sound effects are particularly ill-advised. That said, the performances are heartfelt, and the story holds our attention for the duration (90 minutes without a break). Overall, it has the quality of an exceptionally good amateur performance – quite moving for the initiated, but none too revealing if you go in cold. <strong>March 18</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>March 3</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>March 3</strong></p>
<p><em><strong>I. </strong><b>Erzsébet</b></em> [Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some off-putting stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici). <strong>March 11</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>March 16</strong></p>
<p><strong><em>Bányavíz</em></strong> [Mine Water] The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible. <strong>March 24</strong></p>
<p><strong><em>Anyám orra </em></strong>[My Mother’s Nose] Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable! <strong>March 28, 29, 30, 31</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Kálvária lakópark</em></strong> [Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under odd circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, Kálmán Varju inhabits most seamlessly this uncannily funny, disturbing, and memorable world. <strong>March 18</strong></p>
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<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
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<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>March 20</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>March 9</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_i_decoding_direction" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>March 4, 20, 21, 30, 31</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>March 5, 6, 18, 19, 22, 26</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>March 5, 13, 20</strong></p>
<p><strong><em>Bűn és bűnhődés </em></strong>[Crime and Punishment] Director Michal Dočekal creates a unified look and a clever “crime scene” conceit for this intelligent précis of Dostoevsky’s classic novel, but practically no one in the talented cast can live up to the larger-than-life characters (possible exceptions being Zoltán Karácsonyi as Svidrigailov and Miklós H. Vecsei in his one-minute appearance as Mikolka). András Stohl evokes the Columbo side of committed police inspector Porfiry’s personality, but fails to bring out the character’s transcendent nature. Rather than soar to redemptive heights, this production remains earthbound. <strong>March 8</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>March 8</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/11/04/talented_women_dramatists" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>Liliom </em></strong>Vinyánszky, Jr’s directorial debut on the main stage takes on Ferenc Molnár’s metaphysical comedy-drama-romance, which centers on the anti-hero Liliom, an amusement park worker and small-time criminal. The play is both fascinating and troubling. The director loads on the effects at the beginning: spare set, live music, motion acting, and use of walnuts as a unifying metaphor. Unfortunately, he does not follow through with most these ideas, while some of the actors’ roles are disappointingly one-note (Ákos Orosz as Ficsur and Enikő Eszenyi as Mrs.Muskát). As usual, the actress in the supporting role of Marika (Andrea Waskovics) steals the show. <strong>March 11, 12, 16</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>March 13</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>March 14</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>March 16</strong></p>
<p><strong><em>Hamlet</em></strong> For the first time in its long history, Vígszínház hosts the Danish prince and does so on a wondrous set that lifts, descends, rotates, lights up, shows videos, etc. Still, the dramaturgy gets a little wonky, starting off with a <em>dues ex machine</em> (the ghost’s appearance), but then not following through with it. (I could imagine Fortinbras appearing at the end in the same fashion, but certainly not Laertes.) Attila Vidnyánszky, Jr., brings astounding energy and physicality to his battle with this unwieldy text, but he seems to be abusing his vocal chords for the last two hours. In the second half, there is a purifying pool of water, where Hamlet and Gertrude (Enikő Börcsök) share an incestuous kiss, and where King Claudius (Géza D. Hegedűs) and Ophelia (Nóra Réti) take separate nude dips (the former flamboyantly, the latter bashfully). All in all, the message is difficult to discern. Who is this Hamlet who impersonates his mother in drag before the whole court, and who has much more chemistry with the Player King (Károly Hajduk) than with Ophelia? He begins to resemble Helmut Berger’s character from the Visconti film <em>The Damned. </em>On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. <strong>March 27</strong></p>
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<p><em>See you at the theatre!</em></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/03/01/guide_to_performances_in_march_2019_part_1_a-o
GUIDE TO PERFORMANCES IN MARCH 2019 (Part 1, A-Ö)
2019-03-01T09:28:59+01:00
2019-03-01T09:28:59+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://ak6.picdn.net/shutterstock/videos/7909276/thumb/1.jpg" alt="Image result for girl chewing pen pictures" /></p>
<p> </p>
<p> </p>
<p><strong>Here is your guide to the performance options in March 2019.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
<p> </p>
<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
<p> </p>
<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Kaiser TV, Ungarn</em></strong><em> </em>Time travel and a mythical 19<sup>th</sup>-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. <strong>March 2, 3</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>March 7, 8</strong></p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending may just be worth the 3-hour running time. <strong>March 23, 25</strong></p>
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<h2><strong>B32 Galéria (Gallery at 32 Béla Bartók Road)</strong></h2>
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<p><strong><em>Rebeka </em></strong>Dissociative Identity Disorder offers plenty of scope for drama, especially when the psychiatrists falls in love with one of his patient’s alter-egos. If you accept the modicum of the silliness inherent in the genre, Borbála Szabó’s script serves up a very effective psychodrama. Niké Kurta and Géza Egger bring the story to life brilliantly, and even the set is cool. Sometimes, though, Attila Balogh’s direction can be overbearing – for example, when the ambient noise drowns out some dialogue. Great show! <strong>March 2, 4</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath’s 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door-slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>March 20</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>March 11, 13</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>Kékszakáll </em></strong>[Bluebeard] To call it grotesque would be an understatement. The operetta is set in a stylized 1950s-era office building where sexual harassment is not a concept, just a facet of the work environment. The office’s nymphomaniac cleaning lady (Barara Bordás) wins the organization’s beauty pageant, whereupon she receives a proposal from Mr. Bluebeard, the billionaire boss with a penchant for murdering his spouses. Yet, when Bluebeard spots the secretary Fleurette (Luca Bojtos), masquerading as the lost daughter of the senator with similarly homicidal habits, Bluebeard vows to poison his new bride and take Fleurette as his seventh wife, on the very evening her “parents” plan for her to wed Prince Saphir. On opening night, the cast was uniformly spirited and enthusiastic, which goes a long way to selling this bizarre and unsettling material. Hats off to director Kriszta Székely for her bold imagining of this work! While some of Noémi Kulcsár’s choreography had not clicked by opening night, perhaps it has improved since then. <strong>March 5, 6, 7</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_ii_credibility_crises" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
<p><strong><em>A kék madár </em></strong>[Blue Bird] The English-speaking world is less aware of Maeterlinck’s symbolist play for children; and this musical adaptation, staged in the tiny and ornate Imre Kálmán Teátrum beside the Operetta (entrance through the buffet), would seem to be the perfect opportunity to experience it. Two young actors performed the first number (as siblings Tytyl and Mytyl) with impressive flair. Overall, the performers seemed keen, but the music quickly became annoyingly repetitive. The youthful audience seemed to be impressed, but this quest for happiness proved all too allegorical for me. In short, it was over my head. <strong>March 8, 9, 10, 11</strong></p>
<p><strong><em>A chicagói hercengő</em></strong> [Duchess of Chicago] This “lost” operetta by titan Imre Kálmán is a delightful piece of light entertainment with a paper-thin plot, catchy tunes, and lots of eye-catching costumes. The producers turn the romantic tale into a fable about cultural assimilation, complete with a happy ending. Perfect for a family outing or a treat for older relatives! <strong>March 30, 31</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>March 14, 21, 26</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
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<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>Gionconda </em></strong>[La Gioconda] Primary-colored costumes with the subtlety of hammer blows, together with a set that is a bewildering mix of castrated traditional and castrated modern, bog down this recent revival of Ponchielli’s classic grand Italian opera. A stream of water runs across the stage, and its gradual stagnation symbolizes (I imagine) intractable relationships. Fuzzy blocking obscures the plot, so even the cast of exceptionally strong singers cannot elevate the material, which often seems saccharine and schmaltzy. “The Dance of the Hours” is choreographed in a very modern way, only underscoring the question: What did director András Almási-Tóth hope to accomplish with this bland hodgepodge? <strong>March 3, 6, 10</strong></p>
<p><strong><em>János Vitéz </em></strong>[John the Valiant] When I saw this production some fifteen years ago, it was a charming introduction to the classic Hungarian tall tale (penned by revolutionary poet Sándor Petőfi and here adapted by composer Pongrács Kacsóh). Expect plenty of children in the audience and savor what I hope is still a delightful performance by Péter Haumann as the French King in the second act. <strong>March 9, 10, 16, 17, 30, 31</strong></p>
<p><strong><em>Bánk Bán </em></strong>[The Regent Bánk] This stirring national opera is probably Ferenc Erkel’s best, based on <em>the </em>classic Hungarian play by József Katona. Nevertheless, this revamped version, courtesy of director Attila Vidnyánszky, is sadly underwhelming. Confusing and unnecessary stage business hinders our understanding of the plot, as the director strives to give us <em>his </em>vision. <strong>March 14, 16, 21, 29</strong></p>
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<h2><strong>Fészek Klub (Nest Club)</strong></h2>
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<p><strong><em>Jubileumi Beszélgetések</em></strong> [Jubilee Talks] Sadly not an adaptation of the Book of Jubilees from the Apocrypha, this begins as a panel discussion to celebrate the twentieth anniversary of the Béla Pintér Company, then enters a nightmarish alternate reality where the cast indulges in drugs, cannibalism, and anal rape. The writer-director has some choice words for Attila Vidnyánszky, Sr., and the scrapping of the theatre subsidy program (TAO). Also, there is some wild slapstick with former prime minister Ferenc Gyurcsány, but perhaps only because actor Sándor “Qpa” Bence bears an uncanny resemblance to the politician. Ultimately, however, this is a 70-minute in-joke; and despite the over-the-top violence, it is not very biting. <strong>March 11, 12, 13, 14, 22, 23</strong></p>
<p><a href="https://theatredaemon.blog.hu/2019/03/01/trouble_with_tao" target="_blank" rel="noopener noreferrer"><em>For a related article, click here.</em></a></p>
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<h2><strong>Hatszín Teatrum</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>March 1, 3, 10, 21</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>March7, 8, 22, 27</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
<p> </p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>March 17</strong></p>
<p><strong><em>Az Üvegcipő </em></strong>[The Glass Slipper] This traditional staging provides a perfect opportunity to discover Ferenc Molnár’s Cinderella tale in the Józsefváros district. The production captures the 1920s boarding-house milieu quite well, but its model is clearly the legendary production of 1962, which featured Gábor Agárdi and Edit Domján. In this version, Dóra Létay is more than capable as the cool-headed landlady Adél. Károly Nemcsák, with his slow, bear-like physicality, makes the role of Sipos, the bourgeois middle-aged carpenter, his own. Réka Thália-Fekete is appealing as the love-struck serving maid Irma, but her devotion to Sipos plays like an older man’s fantasy, too good to be true. <strong>March 23</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_ii_credibility_crises" target="_blank" rel="noopener noreferrer"><em> For a detailed review, click here.</em></a></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>March 7, 26</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>March 8, 29</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>March 8, 21</strong></p>
<p><strong><em>Bebújós</em></strong> [Snuggle in] When the children’s games at nursery school take on a sexual nature, the parents start hysterically pointing fingers, and there are plenty of red herrings to keep the audience guessing. Nearly all the actors play one parent and their respective child, so it is clear how behavior and traits are passed along. Another good show by Andrea Pass! <strong>March 18</strong></p>
<p><strong><em>Menekülj okosan! </em></strong>[Flee Wisely] Like Lifeboat Group’s previous offering <em>Sociopoly</em>, this production combines elements of interactive theatre and board games in an effort to enlighten the audience about a particular issue – in this case, the refugee crisis. We sit in a classroom on four sides of the acting space and represent a community of villagers who must flee Hungary on account of some unnamed disaster. The game gets off to a slow start as we try to determine the rules and figure out how much of this is theatre, storytelling, and lecture. There are some kinks to work out, but plenty of thought-provoking material to discuss long after the performance. Strong command of Hungarian needed to play! <strong>March 20</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/03/12/responses_to_the_refugee_crisis" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>Árpádház</em></strong> [House of Árpád] Spiró’s historical drama follows the Hungarian royal family from Kálmán the Bookish to Géza II (c. 1110-1140), but mostly focuses on Béla II (or Béla the Blind). Despite mostly bland dialogue, this can be a good show (as previous productions have shown) if the producers supplement it with exciting elements. Still, the cast, crew, and musicians here all seem to be holding back. The result is as boring as history class. <strong>March 24</strong></p>
<p><strong><em>A Pitbull Cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy. <strong>March 28</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
<p><strong> </strong></p>
<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>March 10, 22</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>March 17</strong></p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>March 19</strong></p>
<p><strong><em>Bunbury </em></strong>[The Importance of Being Ernest] This staging of Oscar Wilde’s classic is strictly by-the-book, ignoring the gay subtext of the original. Still, most of the humor seems to fly over the Hungarian audience’s heads. The costumes are attractive, as are the actors, particularly Zalán Makranczi as John Worthing and Ildikó Tornyi as Gwendolen Fairfax. <strong>March 20, 28</strong></p>
<p> </p>
<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. (studio space) <strong>March 1, 29</strong></p>
<p><strong><em>Elnöknők </em></strong>[Leading Ladies] This absurd piece by Werner Schwab premiered in 1996 and survives to this day thanks to sublimely grotesque performances by Judit Pogány, Ági Szirtes, and Eszter Csakányi. The piece itself, however, is little more than an ad hoc collection of shocking bits and set pieces. (studio space) <strong>March 15</strong></p>
<p><strong><em>Pali </em></strong>In a prime example of verbatim theatre, actress Zsófia Számosi deeply internalizes the role of Mrs. Paul Maléter – wife of the man who accidently became a leader of the Hungarian Revolution of 1956, only to be arrested and executed by the returning Soviets. She does not break character under any circumstances. Her story is fascinating and very moving at times, but without conflict. It is a fascinating history lesson and character study, but not drama, only story-telling. Also, the back projections are unnecessary and distracting. (basement space) <strong>March 17, 25 </strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals’ private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre’s manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>March 20, 21</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>March 23</strong></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>March 28</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>March 27, 28</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Director Vidnyánszky, Sr. is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>March 7, 8, 30, 31</strong></p>
<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>March 10</strong></p>
<p><strong><em>Othello </em></strong>Director Csaba Kiss begins with a backstage scene in a make-up chair to justify actor Lajos Ottó Horváth’s “choice” to play the Moor with only one black glove to signal, at strategic times, the hero’s racial identity. This first appearance, half naked, tends to undermine his stature as a heroic warrior. It also highlights the age gap with his co-star, Eszter Ács as Desdemona. The duo has chemistry and earnest emotion in the finale, but the evening as a whole falls flat. They receive good support from Dénes Farkas (as Iago) and Andrea Söptei (as Emilia). Even Kinga Katona provides a solid Bianca. Still, Mari Nagy is miscast as Brabantina (here Desdemona’s mother), and Sebestyén László Szabó is completely out of his depth as the Rodrigo. Tension is deflated again and again, and the spectacle of Shakespeare’s Venice and Cyprus is lackluster, to put it kindly. (studio space) <strong>March 10, 17</strong></p>
<p><strong><em>Isten Ostora </em></strong>[Scourge of God] What we experience seated onstage, on four sides of the deep acting area, is less of a theatrical performance and more of a live-action museum exhibit. It seems that director Attila Vidnyánszky wishes to weave a tapestry of movement and sound, and he is more successful on this occasion than in his production of <em>The Passion of Christ from Csíksomlyó.</em> Unfortunately, even from the best seat (on the edge of Sector C), it can be bloody hard to hear and understand. Lajos Ottó Horváth and Tibor Fehér manage good portrayals, as does octogenarian Gyula Bodrogi as the court jester. László Mátray is solid as Attila the Hun when he finally appears (after 80 minutes, at about the mid-point of the play). Most of the other actors are forced to simply shout their lines as best as they can. For example, Estilla Mikecz, who I believe has talent, is very one-note as Mikolt, the Goth princess who finds it in her heart to love the conquering Hun, even as she is duty-bound to assassinate him to avenge her slaughtered race. <strong>March 11, 12</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/04/08/attila_the_hun_noble_leader_or_fearsome_foe" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>Vitéz lélek</em></strong> [Valiant Spirit] One of Áron Tamási’s lesser-known plays, it receives a lavish production here with well-conceived set and lighting designs. Typical of the author, it mixes pastoral realism and fairy-tale, but the construction is somewhat lopsided. Actor Lajos Ottó Horváth must single-handedly bear enough tragedy for two plays (or one Calderón drama) in the last act, but he does so admirably. At the end, a hymn resounds, as though we are inside a large organ, no doubt to underscore the roots of Hungarian Catholicism in rural Transylvania. <strong>March 19</strong></p>
<p><strong><em>Shakespeare Összes Rövidítve (SÖR)</em></strong> [The Complete Works of Shakespeare] This crowd-pleaser premiered in New York around 2000, then turned up in Budapest shortly afterwards. It has been packing audiences in for some 15 years now thanks to the contagious antics of the three-member Madhouse troupe, delivering a delightful, and ultimately respectful, romp through classic literature. <strong>In English! </strong>(workshop space) <strong>March 23, 24</strong></p>
<p><strong><em>Szentivánéji álom</em></strong> [Midsummer Night’s Dream] This re-imagining of Shakespeare’s comedy may have you scratching your head. The first shock is the master-slave relationship between Theseus and Hippolyta (played by Lajos Ottó Horváth and Eszter Nagy-Kálózy). Their relationship is inverted, somewhat, when he, doubling as the lowly Bottom, is transformed into an ass (as in donkey) and copulates with her bewitched fairy queen Titania. Meanwhile, the stage machinery moves constantly, the insistent soundtrack blares, and puzzling set pieces appear onstage. What is a piano doing in the forest? Most odd of all is the depressing conclusion where everyone appears to be miserable. Credit goes to Kamilla Fátyol for her enchanting turn as Hermia. <strong>March 27</strong></p>
<p><strong> </strong></p>
<h2><strong>Ódry Színpad (Ódry Stage)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A Nyíregyháza utca </em></strong>[Nyíregyháza Street] A group of Hungarian sex workers are abandoned by their pimp in Amsterdam, failed by a buffoonish aid organization, and fall into the hands of a mad madam who has them doing performance art in public. Eszter Anna Szilágyi’s exposé drama is eye-popping, but twice as long as it should be. (Why toss in Verdi’s gypsy chorus from <em>La Traviata </em>when there was a better musical number with original Hungarian lyrics towards the beginning?) Despite strong, spirited, talented performances, the play mystifies more than it enlightens. <strong>March 21</strong></p>
<p> </p>
<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>March 1, 27</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>March 2, 21</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>March 2, 21, 31</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>March 3, 19, 20, 29, 30</strong></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>March 3, 20</strong></p>
<p><strong><em>Patika </em></strong>[Pharmacy] Szép Ernő’s surreal pastoral comedy receives a thought-provoking overhaul courtesy of the Mohácsi brothers (János as director and István as dramaturge), including some material unthinkable in the original 1919 text. While the protagonist is still the pharmacist’s apprentice Kálmán (played adequately by Máté Novkov, enjoying his first meaty role at the Örkény), additional emphasis is placed on the sad fate of the pharmacist’s wife (skillfully embodied by Réka Tenki). Nonetheless, István Znamenák still steals the second act with his tragicomic-pathetic rant as the drunken, jealous pharmacist. Plus, an additional coda recasts the tiny servant role of Kati (Emőke Zsigmond) not as a life-destroying temptress, but the unsung heroine of her own cyclical tragedy. Five guest artists provide some new faces in the ensemble. I particularly liked László Felhőfi-Kiss as the professor and Árpád Némedi as the gypsy musician. The live music is also effective. Be aware, though, that the running time is well over three hours. <strong>March 4, 18</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>March 5, 26</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"><em>For a detailed review, click here.</em></a></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>March 9</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>March 10, 16</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>March 13</strong></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>March 22</strong></p>
<p><strong><em>I. Henrik I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>March 23</strong></p>
<p><em><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></em></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>March 26 </strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>March 28</strong></p>
<p> </p>
<p><span style="background-color: #ffffff;"><em>See more options in the second part of the March listings!</em></span></p>
<p><strong> </strong><strong></strong><em></em></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/03/01/trouble_with_tao
Trouble with TAO
2019-03-01T09:14:05+01:00
2019-03-01T09:14:05+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://media.port.hu/images/001/115/616.jpg" /> </p>
<h2>The Hungarian government scraps its system for theatre subsidies.</h2>
<h2></h2>
<p>(Photo: Béla Pintér speaks out again Vidnyánszky's role in having the TAO system for theatre subsidies abolished in his latest production entitled <em>Jubilee Talks.</em>)</p>
<p>In late 2018, the Hungarian government announced that the TAO system (a far-reaching framework for using tax revenue to fund projects and institutions) would no longer apply to theatre subsidies. What it will be replaced with – no one knows. No announcements have been made. Authorities have assured theatre companies that they will receive the support they were expecting, based on ticket sales in the year 2018, but so far this money has not materialized.</p>
<p>This is a typical Hungarian story, where there is so little information to be had and everything is up in the air, it feels almost pointless to write about it. Still, the story must be covered, since it my have profound effects on the country’s performing arts scene for years to come.</p>
<p>Reactions to TAO program’s abrupt demise were fairly calm and diplomatic – at least, in public. In the January 2019 issue of <em>Fidelio</em>, an entertainment guide, musical theatre producer Mária Rosta claimed, “I’ve known for some time that this type of TAO support would end. There’s simply nothing else to be done with all the abuses that lack of supervision made possible.” In the same issue, Gábor Nagy-Pál, leader of the independent theatre Stúdió K, opined, “For as long as I’ve known, we’ve always operated in crisis mode, and not just Stúdió K. All my life, I’ve never worked in a theatre with, let’s say, normal financial conditions. Now, we simply must wait. The problem is we don’t know anything, and so we’re not even able to react appropriately.” His company has requested donations over Facebook, which he characterized as a “cry for help”, to sustain them through the period of uncertainty.</p>
<p>It is difficult to uncover what suddenly motivated the radical change of policy with no apparent contingency plan. Nonetheless, in private conversations with individuals from many different areas of the industry, everyone names Attila Vidnyánszky as the responsible party. (In his latest production, <em>Jubilee Talks</em>, impresario Béla Pintér speaks very harshly onstage about Vidnyánszky’s role in ending the TAO program; yet, seeing as that play is a satire, his words would be out of context in this article.) Attila Vidnyánszky was appointed leader of Budapest’s National Theatre in December 2012, and took over effective management of the institution in 2013. For years, he has inveighed against the TAO program and called for its abolition. Finally, it seems, lawmakers acted on his suggestion.</p>
<p>What were the perceived problems? The injustice. Since TAO subsidies were based on ticket sales, what was to stop a large theater like Vígszínház (Comedy Theater) from printing unsold tickets, then claiming the subsidy for empty seats? I must hasten to state that, despite Mária Rosta’s comment, I have no evidence of abuses taking place, and I cannot say how easy it was to cheat the system. Still, the argument ran that huge venues offering popular entertainment had a great advantage. The main stage of Budapest’s National Theatre, for instance, has only a third of the capacity as the Vígszínház (<em>Hungarian Quarterly</em>, Summer 2002).</p>
<p>What effect will this have on theatres? Ironically, bigger institutions are better equipped to weather the freeze in funding. Smaller groups that survive off the subsidies suffer disproportionately. Take, for example, the Béla Pintér Company. They have no permanent venue and must always rent spaces for their wildly successful productions. (As a rule, all their performances sell out.) Director’s assistant Rozi Hajdú broke down the numbers for me.</p>
<p>If they sell out the Átrium venue, they can make one million forints in ticket sales in one night, but 60% of that sum pays the rent. The remaining 40% is not enough to pay all the actors and staff and technicians. Under the TAO system, they could recoup 80% of the price of each ticket. That was the only way they could make a profit. TAO subsidies were paid on a yearly basis, so they never received the money they had counted on after 2018, leaving them deeply in debt. Of course, they, too, have received assurances that they will eventually receive funding, but now one cay say when, in what form, or whether it will be the total sum that they expected.</p>
<p>In another layer of irony, Vígszínház finds itself in a good strategic position. The son of the National Theatre’s leader, Attila Vidnyánszky, Jr., has two starring roles at the venerable site (Hamlet and Charlie Chaplin in <em>The Dictator</em>). He has also recently unveiled his first direction for the main stage, Ferenc Molnár’s classic play <em>Liliom. </em>In effect, Vígszínház director Enikő Eszenyi is holding the young Vidnyánszky hostage. If new regulations were to go badly for her company, she could simply set him free. His career might not fare so well, given the current unpopularity of his father.</p>
<p>The future is uncertain. The most paranoid speculators talk of a government-appointed Arts Board filled with theatre veterans from the regime change (late 80s) who will decide, on a primarily political basis, what companies and institutions receive support. Call me naïve, but I doubt this outcome. How could theatre artists who lived through the political transition perpetrate a suppression of theatre similar to the kind they experienced under Communism?</p>
<p>No doubt due to changing market pressures since the late 80s, we have seen a slow shift from heavily-supported artistic theatre (where the director is the dominant figure) to more crowd-pleasing entertainment with higher ticket prices (where the main draw is the star power of the performers). These more recent, commercial-oriented companies (like Orlai Productions) are likely to perform better in the new environment, since they are less reliant on subsidies. In the meantime, we can expect smaller venues to raise their entrance fees.</p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/02/01/guide_to_performances_in_feruary
GUIDE TO PERFORMANCES IN FERUARY 2019
2019-02-01T11:38:17+01:00
2019-02-01T11:38:17+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><img src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQhkzSR1ox61CedL8Ji70IEawpBfIJlh3cpZGR1bmXMz18Gq1VZuQ" alt="Image result for robot images" width="558" height="274" /> </p>
<p> </p>
<p><strong>Here is your guide to the performance options in February 2019</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
<p> </p>
<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
<p> </p>
<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold, performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending might just be worth the 3-hour running time. <strong>February 1, 2, 3</strong></p>
<p><strong><em>Szutyok </em></strong>[Muck] In what is possibly Béla Pintér’s most heartbreaking production about the intolerable state of being unloved, a case of child adoption takes on mythic and nightmarish proportions. The cast is superb, embodying their roles lovingly. The piece incorporates elements of folk dance and musical theatre, while deploying an unsettling, potent blend of comedy and tragedy. Highly recommended! <strong>February 19, 20</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7<sup>th</sup>-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>February 1, 21</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath’s 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door-slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>February 2</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A chicagói hercengő</em></strong> [Duchess of Chicago] This “lost” operetta by titan Imre Kálmán is a delightful piece of light entertainment with a paper-thin plot, catchy tunes, and lots of eye-catching costumes. The producers turn the romantic tale into a fable about cultural assimilation, complete with a happy ending. Perfect for a family outing or a treat for older relatives. <strong>February 1, 2, 3, 4</strong></p>
<p><strong><em>A kék madár </em></strong>[Blue Bird] The English-speaking world is less aware of Maeterlinck’s symbolist play for children; and this musical adaptation, staged in the tiny and ornate Imre Kálmán Teátrum beside the Operetta (entrance through the buffet), would seem to be the perfect opportunity to experience it. Two young actors performed the first number (as siblings Tytyl and Mytyl) with impressive flair. Overall, the performers were keen, but the music quickly became annoyingly repetitive. The youthful audience appeared to be impressed, but this quest for happiness proved all too allegorical for me. In short, it was over my head. <strong>February 1, 2, 3</strong></p>
<p><strong><em>Luxemburg Grófja </em></strong>[The Count of Luxembourg] Far less memorable than Lehár’s classic <em>The Merry Widow</em>, the plot here is thin and improbable, even by operetta standards. The producers try to distract us with razzle-dazzle, but the tropes here (freewheeling Bohemians in Paris) are so watered-down, they become meaningless. Tamás Földes is quite spirited as the buffoonish Sir Basil, but then he performs a maddeningly superfluous rap while male dancers in black-face cavort nearby. When will Hungarian theatre-makers learn that this is not cool? <strong>February 9, 10</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>February 6, 14, 17, 19</strong></p>
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<h2><strong>Fészek Klub (Nest Club)</strong></h2>
<p> </p>
<p><strong><em>Jubileumi Beszélgetések</em></strong> [Jubilee Talks] Sadly not an adaptation of the Book of Jubilees from the Apocrypha, this begins as a panel discussion to celebrate the twentieth anniversary of the Béla Pintér Company, then enters a nightmarish alternate reality where the cast indulges in drugs, cannibalism, and anal rape. The writer-director has some choice words for Attila Vidnyánszky, Sr., and the scrapping of the theatre subsidy program (TAO). Also, there is some wild slapstick with former Prime Minister Ferenc Gyurcsány, but perhaps only because actor Sándor “Qpa” Bence bears an uncanny resemblance to the politician. Ultimately, however, this is a 70-minute in-joke; and despite the over-the-top violence, it is not very biting. <strong>February 5, 6, 7, 8, 17, 18</strong></p>
<p> </p>
<h2><strong>Hatszín Teatrum</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>February 21, 27</strong></p>
<p> </p>
<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>February 11, 14, 15, 25, 28</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Az Üvegcipő </em></strong>[The Glass Slipper] This traditional staging provides a perfect opportunity to discover Ferenc Molnár’s Cinderella tale in the Józsefváros district. The production captures the 1920s boarding-house milieu quite well, but its model is clearly the legendary production of 1962, which featured Gábor Agárdi and Edit Domján. In this version, Dóra Létay is more than capable as the cool-headed landlady Adél. Károly Nemcsák, with his slow, bear-like physicality, makes the role of Sipos, the bourgeois middle-aged carpenter, his own. Réka Thália-Fekete is appealing as the love-struck serving maid Irma, but her devotion to Sipos plays like an older man’s fantasy, too good to be true. <strong>February 1</strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>February 17, 24</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
<p><em> </em></p>
<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>February 1, 23</strong></p>
<p><strong><em>Napraforgó</em></strong> [Sunflower] Andrea Pass’s finely observed family drama slips in under the radar, but the audience is soon party to her characters’ innermost feelings, culminating in complicated conflicts, Chekhovian silences, and emotional catharsis. Highly recommended! <strong>February 2</strong></p>
<p><strong><em>Menekülj okosan! </em></strong>[Flee Wisely] Like Lifeboat Group’s previous offering <em>Sociopoly</em>, this production combines elements of interactive theatre and board games in an effort to enlighten the audience about a particular issue – in this case, the refugee crisis. We sit in a classroom on four sides of the acting space and represent a community of villagers who must flee Hungary on account of some unnamed disaster. The game gets off to a slow start as we try to determine the rules and figure out how much of this is theatre, storytelling, and lecture. There are some kinks to work out, but plenty of thought-provoking material to discuss long after the performance. Strong command of Hungarian needed to play! <strong>February 6</strong></p>
<p><strong><em>A Pitbull Cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy. <strong>February 14</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>February 14, 24</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>February 15, 20</strong></p>
<p><strong><em>Árpádház</em></strong> [House of Árpád] Spiró’s historical drama follows the Hungarian royal family from Kálmán the Bookish to Géza II (c. 1110-1140), but mostly focuses on Béla II (or Béla the Blind). Despite mostly bland dialogue, this can be a good show (as previous productions have shown) if the producers supplement it with exciting elements. Still, the cast, crew, and musicians here all seem to be holding back. The result is as boring as history class. <strong>February 21</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
<p><strong> </strong></p>
<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Bunbury </em></strong>[The Importance of Being Ernest] This staging of Oscar Wilde’s classic is strictly by-the-book, ignoring the gay subtext of the original. Still, most of the humor seems to fly over the Hungarian audience’s heads. The costumes are attractive, as are the actors, particularly Zalán Makranczi as John Worthing and Ildikó Tornyi as Gwendolen Fairfax. <strong>February 12, 17</strong></p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>February 27</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
<p><em><strong> </strong></em></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>February 6, 10, 27</strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. (studio space) <strong>February 7, 8, 13</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>February 9, 23, 24, 25</strong></p>
<p><strong><em>Pali </em></strong>In a prime example of verbatim theatre, actress Zsófia Számosi deeply internalizes the role of Mrs. Paul Maléter – wife of the man who accidently became a leader of the Hungarian Revolution of 1956, only to be arrested and executed by the returning Soviets. She does not beak character under any circumstances. Her story is fascinating and very moving at times, but without conflict. It is a fascinating history lesson and character study, but not drama, only story-telling. Also, the back projections are unnecessary and distracting. (basement space) <strong>February 10, 28</strong></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>February 12</strong></p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>February 17, 28</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>February 3</strong></p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Szólók</em></strong> [Solos] Living up to the title of their production, the Hodworks company delivers a series of dance and performance solos – not without flashes of humor, most memorably supplied by Csaba Molnár. The audience sits in a single row surrounding the space on four sides. If you do not like to be drawn into the action, be aware that dancer Marcio Canabarro makes direct contact with three or four random audience members during the show. <strong>February 26</strong><strong> </strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Director Vidnyánszky, Sr. is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>February 1, 2</strong></p>
<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>February 3</strong></p>
<p><strong><em>Othello </em></strong>Director Csaba Kiss begins with a backstage scene in a make-up chair to justify actor Lajos Ottó Horváth’s “choice” to play the Moor with only one black glove to signal, at strategic times, the hero’s racial identity. This first appearance, half naked, tends to undermine his stature as a heroic warrior. It also highlights the age gap with his co-star, Eszter Ács as Desdemona. The duo has chemistry and earnest emotion in the finale, but the evening as a whole falls flat. They receive good support from Dénes Farkas (as Iago) and Andrea Söptei (as Emilia). Even Kinga Katona provides a solid Bianca. Still, Mari Nagy is miscast as Brabantina (here Desdemona’s mother), and Sebestyén László Szabó is completely out of his depth as the Rodrigo. Tension is deflated again and again, and the spectacle of Shakespeare’s Venice and Cyprus is lackluster, to put it kindly. (studio space) <strong>February 3, 20</strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>February 7</strong></p>
<p><strong><em>Shakespeare Összes Rövidítve (SÖR)</em></strong> [The Complete Works of Shakespeare] This crowd-pleaser premiered in New York around 2000, then turned up in Budapest shortly afterwards. It has been packing audiences in for some 15 years now thanks to the contagious antics of the three-member Madhouse troupe, delivering a delightful, and ultimately respectful, romp through classic literature. <strong>In English! </strong>(workshop space) <strong>February 15, 16</strong></p>
<p><strong><em>Vitéz lélek</em></strong> [Valiant Spirit] One of Áron Tamási’s lesser-known plays, it receives a lavish production here with well-conceived set and lighting designs. Typical of the author, it mixes pastoral realism and fairy-tale, but the construction is somewhat lopsided. Actor Lajos Ottó Horváth must single-handedly bear enough tragedy for two plays (or one Calderón drama) in the last act, but he does so admirably. At the end, a hymn resounds, as though we are inside a large organ, no doubt to underscore the roots of Hungarian Catholicism in rural Transylvania. <strong>February 18</strong></p>
<p><strong><em>Szentivánéji álom</em></strong> [Midsummer Night’s Dream] This re-imagining of Shakespeare’s comedy may have you scratching your head. The first shock is the master-slave relationship between Theseus and Hippolyta (played by Lajos Ottó Horváth and Eszter Nagy-Kálózy). Their relationship is inverted, somewhat, when he, doubling as the lowly Bottom, is transformed into an ass (as in donkey) and copulates with her bewitched fairy queen Titania. Meanwhile, the stage machinery moves constantly, the insistent soundtrack blares, and puzzling set pieces appear onstage. What is a piano doing in the forest? Most odd of all is the depressing conclusion where everyone appears to be miserable. Credit goes to Kamilla Fátyol for her enchanting turn as Hermia. <strong>February 21</strong></p>
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<h2><strong>Ódry Színpad (Ódry Stage)</strong></h2>
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<p><strong><em>A Nyíregyháza utca </em></strong>[Nyíregyháza Street] A group of Hungarian sex workers are abandoned by their pimp in Amsterdam, failed by a buffoonish aid organization, and fall into the hands of a mad madam who has them doing performance art in public. Eszter Anna Szilágyi’s exposé drama is eye-popping, but twice as long as it should be. (Why toss in Verdi’s gypsy chorus from <em>La Traviata </em>when there was a better musical number with original Hungarian lyrics towards the beginning?) Despite strong, spirited, talented performances, the play mystifies more than it enlightens. <strong>February 23</strong></p>
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<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
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<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>February 1, 7, 20, 28</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>February 1, 15</strong></p>
<p><strong><em>IV.</em> Henrik<em> I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>February 2</strong></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>February 2, 13, 28</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>February 5, 27</strong></p>
<p><strong><em>Patika </em></strong>[Pharmacy] Szép Ernő’s surreal-pastoral comedy receives a thought-provoking overhaul courtesy of the Mohácsi brothers (János as director and István as dramaturge), including some material unthinkable in the original 1919 text. While the protagonist is still the pharmacist’s apprentice Kálmán (played adequately by Máté Novkov, enjoying his first meaty role at the Örkény), additional emphasis is placed on the sad fate of the pharmacist’s wife (skillfully embodied by Réka Tenki). Nonetheless, István Znamenák still steals the second act with his tragicomic-pathetic rant as the drunken, jealous pharmacist. Plus, an additional coda recasts the tiny servant role of Kati (Emőke Zsigmond) not as a life-destroying temptress, but the unsung heroine of her own cyclical tragedy. Five guest artists provide some new faces in the ensemble. I particularly liked László Felhőfi-Kiss as the professor and Árpád Némedi as the gypsy musician. The live music is also effective. Beware, though, that the running time is well over three hours. <strong>February 6, 10, 18, 26</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>February 8, 15</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>February 11, 17</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>February 11, 17, 25</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>February 12</strong></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>February 13, 19</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>February 14</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>February 23, 25</strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>February 24</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>John Gabriel Borkman </em></strong>A must-see for Ibsen fans, this late pay shows him experimenting with allegory and a more symbolist style. What occurs onstage is mostly the consequence of actions taken 10 and 18 years before the plot. On this occasion, Péter Valló’s direction is quite capable, but occasionally seems tired and uninspired. In the larger-than-life lead roles, Géza D. Hegedűs and Enikő Börcsök both shine. Barbara Hegyi is miscast (or misdirected) as Borkman’s embittered wife. Her character could be far more grotesque. Miklós H. Vecsei does well in his smaller role as the defiant son. <strong>February 1, 11, 12, 21, 22</strong></p>
<p><strong><em>Mikve</em></strong><em> </em>Stick around for the second half of this contemporary Israeli play about a traditional bath facility for pious Jewish women. You may expect it to be a typical women’s drama with everyone’s secrets revealed and everyone crying on each other’s shoulders by the end, but the drama takes a much more radical turn as the community of women from the <em>mikve</em> band together to defy society. It boasts a fine ensemble cast with great performances all around. Barbara Hegyi, in particular, shows uncommon fire in the role of an abused wife. <strong>February 2</strong></p>
<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus (which threatens to burst the boundaries of the small Pesti stage), he clearly understands the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>February 5, 6</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>February 7</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>February 15</strong></p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>A Herner Ferike faterja </em></strong>[Frankie Herner’s Father] What was Enikő Börcsök thinking when she directed this turkey of a play? The only thing I can complement is the set (by József Tóth), which features flats outfitted with three-dimensional details, sometimes wildly out of proportion. Playwright János Hay uses mostly the same characters from his breakthrough work <em>Kid Géza</em>, but here the backwater hicks are mostly mocked for their manifold vices. The dialogue, with its incessant stalling and pseudo-profundities, sounds like bad David Mamet. Plus, the scenes of domestic violence are jarring in a comedy, even a poor and offensive one. The experience left me feeling physically ill. <strong>February 7, 14</strong></p>
<p><strong><em>A Gézagyerek </em></strong>[Kid Géza] János Hay’s first successful play is probably his best, with a cast of well-intentioned quarry workers as heroes and Géza, the safety inspector with autism perched in his high crane, as an unlikely symbol of God. The production here has plenty of good actors, but the writing is heavy-handed at times. The lackluster direction and nondescript set hardly help. Still, it is a decent humanist tragicomedy with an impressively focused performance by Géza Takács (as Géza) and a touching portrayal of his mother by the wondrous Enikő Börcsök. <strong>February 9, 24</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>February 5, 27</strong></p>
<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>February 6, 11, 13, 17</strong></p>
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<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
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<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>February 18</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lovers. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>February 2, 15</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] What is brilliant in this adaptation is the original work by Milán Füst, whose infinitely complicated human relations practically defy the limits of the theatrical medium. While the actors wholeheartedly throw themselves into the World War I setting, the end result can be baffling for audience members. Kati Lábán’s literary taste is exquisite, but her direction is dismayingly flat and mechanical on this occasion. <strong>February 3, 23</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>February 4</strong></p>
<p><strong><em>Folyóügy</em></strong> [Case in Progress] A clever set and lively stage movement brighten up Braun Barna’s cabaret-like vignettes of Hungarian reality. There are plenty of laughs of recognition, not a terrible amount of depth, and at least one troubling stereotype. Stand-outs in the cast are Katalin Merai and Gábor Jaszberényi. <strong>February 16, 24</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>February 20</strong></p>
<p><strong><em>Tizenegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>February 21</strong></p>
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<h2><strong>Spirit Színház (Spirit Theater)</strong></h2>
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<p>When you enter Spirit Színház (near Elvis Presley Park just north of Margaret Bridge on the Buda side), you are confronted with an aquarium, then a long hall with a coat check, exposed brick, books for sale, a buffet, a confusing mix of decorations, and live piano music. Audience members line up well before they are allowed into the nondescript studio space upstairs, and with reason. There is practically no hope of a good view of the acting space if you sit anywhere behind the fourth row.</p>
<p><strong><em>Bernarda Alba háza</em></strong> [House of Bernarda Alba] This classic play about sexual repression by Frederico Garcia Lorca is sensational; yet, all the elements here – the set, costumes, staging, and characterizations – fall a bit below the mark, not quite capturing the claustrophobia, hysteria, and menace of the original. The sound effects are particularly ill-advised. That said, the performances are heartfelt, and story holds our attention for the duration (90 minutes without a break). Overall, it has the quality of an exceptionally good amateur performance – quite moving for the initiated, but none too revealing if you go in cold. <strong>February 23</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>Babaház (Nóra)</em></strong> [A Doll’s House] In this reductive rendition of Ibsen’s revolutionary play, all the characters are dolls, arranged onstage by a mute fellow with a swollen, brainy noggin. (I assume he stands for Ibsen.) Zsuzsanna Lukin, as a spinster with rolled-down stockings, narrates it all, further placing the text in quotation marks. Then, more commentary is added by a deranged young woman, possibly a rape victim, who delivers blasphemous and obscene speeches. Júlia Nyakó (as Nora) and Gábor Nagypál (as Dr. Rank) are able to convey some emotion despite these restrictions. Others, such as Katalin Homonnai (as Kristine) and Noémi Tóth (as the teary maid), manage to be decorative. György Sipos (as a literally spineless Krogstad) is too comic to be an effective antagonist. In spite of some gorgeous stage pictures, it is all inadequately lit by an annoying, abstract, animated projection. This is a perfect example of the art of the bluff, courtesy of director András Jeles. <strong>February 2</strong></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>February 10</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>February 2, 3, 4</strong></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>February 7</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>February 9</strong></p>
<p><em><strong>I.</strong><b>Erzsébet</b></em> [Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some troubling stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici). <strong>February 11</strong></p>
<p><strong><em>Bányavíz</em></strong> [Mine Water] The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible. <strong>February 15</strong></p>
<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>February 26, 27</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Kálvária lakópark</em></strong> [Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under odd circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, Kálmán Varju proves the best at inhabiting this uncannily funny, disturbing, and memorable world. <strong>February 11</strong></p>
<p><strong><em>Winterreise </em></strong>[Winter Journey] By staging Schubert’s song cycle with footage from Hungarian refugee camps, director Kornél Mundruczó provides a thought-provoking comment on the immigration crisis. Actor/singer János Szemenyei is not classically trained, but his commitment to the music is compelling. On the evening I saw it, the pianist played with a disgraceful lack of passion. Provided you prepare beforehand, by learning about the songs, the show can be a highly engaging evening. <strong>February 16, 17</strong></p>
<p><strong><em>Az időnk roved törtenete</em></strong> [A Brief History of Our Time] Get a seat near the front in order to appreciate the fine puppetry as four elderly strangers embark on an odyssey to dispose of their mutual friend’s ashes. A touching show, but despite the puppets, not recommended for children! <strong>February 22</strong></p>
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<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
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<p><strong><em>Janika </em></strong>[Little Johnny] A middle-age Budapest diva is surprised by the director lover who jilted her 14 years before, just as she is preparing for a pant’s role, and she convinces him that she herself is their illegitimate child, paving the way for more complications. If you find Neil Simon too heavy and thought-provoking, <em>Little Johnny </em>may be just right for you. There is plenty of broad humor and ham acting without one moment of truth. <strong>February 10</strong></p>
<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated, since the magazine no longer features nude women. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>February 15</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>February 9</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
<p> </p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>February 2, 3, 9</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>February 4</strong></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>February 5, 6, 16, 20, 24</strong></p>
<p><strong><em>Hamlet</em></strong> For the first time in its long history, Vígszínház hosts the Danish prince and does so on a wondrous set that lifts, descends, rotates, lights up, shows videos, etc. Still, the dramaturgy gets a little wonky, starting off with a <em>dues ex machine</em> (the ghost’s appearance), but then not following through with it. (I could imagine Fortinbras appearing at the end in the same fashion, but certainly not Laertes.) Attila Vidnyánszky, Jr., brings astounding energy and physicality to his battle with this unwieldy text, but he seems to be abusing his vocal chords for the last two hours. In the second half, there is a purifying pool of water, where Hamlet and Gertrude (Enikő Börcsök) share an incestuous kiss, and where King Claudius (Géza D. Hegedűs) and Ophelia (Nóra Réti) take separate nude dips (the former flamboyantly, the latter bashfully). All in all, the message is difficult to discern. Who is this Hamlet who impersonates his mother in drag before the whole court, and who has much more chemistry with the Player King (Károly Hajduk) than with Ophelia? He begins to resemble Helmut Berger’s character from the Visconti film <em>The Damned. </em>On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. <strong>February 8</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>February 8</strong></p>
<p><strong><em>Liliom </em></strong>Vinyánszky, Jr’s directorial debut on the main stage takes on Ferenc Molnár’s metaphysical comedy-drama-romance, which centers on the anti-hero Liliom, an amusement park worker and small-time criminal. The play is both fascinating and troubling. The director loads on the effects at the beginning: spare set, live music, motion acting, and use of walnuts as a unifying metaphor. Unfortunately, he does not follow through with most these ideas, while some of the actors’ roles are disappointingly one-note (Ákos Orosz as Ficsur and Enikő Eszenyi as Mrs.Muskát). As usual, the actress in the supporting role of Marika (Andrea Waskovics) steals the show. <strong>February 11, 12, 21, 22</strong></p>
<p><strong><em>Bűn és bűnhődés </em></strong>[Crime and Punishment] Director Michal Dočekal creates a unified look and a clever “crime scene” conceit for this intelligent précis of Dostoevsky’s classic novel, but practically no one in the talented cast can live up to the larger-then-life characters (possible exceptions being Zoltán Karácsonyi as Svidrigailov and Miklós H. Vecsei in his one-minute appearance as Mikolka). András Stohl evokes the Columbo side of devoted police inspector Porfiry, but fails to bring out the character’s transcendent nature. Rather than soar to redemptive heights, this production remains earthbound. <strong>February 23</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space)<strong> February 23</strong></p>
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<p><strong><em>See you at the theater!</em></strong></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2019/01/04/guide_to_performances_in_january_417
GUIDE TO PERFORMANCES IN JANUARY 2019
2019-01-04T09:11:05+01:00
2019-01-04T09:11:05+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQhkzSR1ox61CedL8Ji70IEawpBfIJlh3cpZGR1bmXMz18Gq1VZuQ" alt="Image result for robot images" width="558" height="274" /></p>
<p><strong>I apologize for my tardiness. Keeping up with the Budapest theatre scene seems like an impossible task for just one individual. If you would like to review a show for the blog, please contact me at <a href="mailto:utgardsloki@gmail.com">utgardsloki@gmail.com</a>. Changes to the theatre subsidy law (also know as the TAO) may have an irrevocable impact in the upcoming year. As we await developments, here are your theatre options in January 2019.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
<p> </p>
<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
<p> </p>
<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending may just be worth the 3-hour running time. <strong>January 2, 3, 4, 5</strong></p>
<p><strong><em>Szutyok </em></strong>[Muck] In what is possibly Béla Pintér’s most heartbreaking production about the intolerable state of being unloved, a case of child adoption takes on mythic and nightmarish proportions. The cast is superb, embodying their roles lovingly. The piece incorporates elements of folk dance and musical theatre, while deploying an unsettling, potent blend of comedy and tragedy. Highly recommended! <strong>January 7, 8</strong></p>
<p><strong><em>Kaiser TV, Ungarn</em></strong><em> </em>Time travel and a mythical 19<sup>th</sup>-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. <strong>January 25, 26</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>January 28</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When seventh-grader Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>January 28, 31</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath’s 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>January 12, 25</strong></p>
<p><strong><em>Vőlegény</em></strong> [The Bridegroom] Although Ernő Szép’s play is a provocative treat from the 1920s, in which a struggling lower middle-class family is happy to prostitute their youngest daughter if the financial rewards are adequate, the cast fails to evoke a convincing picture of everyday life in the crowded flat. Tamás Kimmel-Szabó is splendid in the title role. Patricia Kovács is adequate. With time, György Gazsó and Katlin Takács may strike the right balance as the young girl’s parents. The double seduction scene in the second act is the highlight, but all too often, director Eszter Novák replaces comedy with onstage busy-ness. <strong>January 16</strong></p>
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<h2><strong>Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Godot-ra várva</em></strong> [Waiting for Godot] Beckett’s classic modern opus of cabaret comedy and ennui features two homeless drifters, Vladimir and Estragon, who await the arrival of the god-like Godot. Miklós B. Székely was born to play Vladimir, but he is the consummate natural actor. (Just listen to how he interrupts!) József Tóth, on the other hand, is more stylized as Estragon. For the first half, they seem to be in different plays. Why is Vladimir so fond of Estragon? Why does Estragon delight in teasing him? The relationship needs more fleshing out. Yes, I wish the producers had devised a more creative visual world for this play. I wish Róbert Ilyés would identify with his character more and stop playing for effect. The first 90 minutes is tough, but what is Beckett without a little pain? In act two, the magic of the language asserts itself. The humor is preserved as the show achieves a sense of annihilating despair. If you need a fix of Beckett, the second act delivers. <strong>January 16</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/13/beckett_in_budapest" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A kék madár </em></strong>[Blue Bird] The English-speaking world is less aware of Maeterlinck’s symbolist play for children; and this musical adaptation, staged in the tiny and ornate Imre Kálmán Teátrum beside the Operetta (entrance through the buffet), would seem to be the perfect opportunity to experience it. Two young actors performed the first number (as siblings Tytyl and Mytyl) with impressive flair. Overall, the performers seemed keen, but the music quickly became annoyingly repetitive. As far as I could tell, the youthful audience was impressed, but this quest for happiness is far too allegorical. In short, it was over my head. <strong>January 20, 25, 27</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>January 3, 20, 21, 30</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
<p><strong> </strong></p>
<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue. Practically all shows feature English titles.</p>
<p><strong><em>A denevér </em></strong>[Die Fledermaus] What a great way to ring in the New Year, you might think, with Johann Strauss, Jr.’s elegant Viennese opera. Don’t fall for the trap! The lifeless direction by Miklós Szinetár sucks every iota of life out of the sparkling piece. The result is flat champagne left out overnight during a rainstorm. <strong>January 2, 3, 5</strong></p>
<p><strong><em>Nabucco </em></strong>Awkward staging and an indescribable directorial concept mar this recent production of Verdi’s classic opera. Get a seat in the balcony if you want to see Nabucco’s grand entrance in the first act. Also, why is everyone holding large plaster amphorae throughout the Chorus of Hebrew Slaves? Musically, though, Szilvia Rálik and Alexandru Agache are splendid as Abigail and Nabucco, respectively. <strong>January 4, 6, 11, 13</strong></p>
<p><strong><em>Hugenották</em></strong> [Les Hugenots] This French grand opera does not pick up speed until the second half of the third act, but then it is a highly engaging account of how blind intolerance among Catholics and Protestants led to the Saint Bartholomew’s Massacre of 1572. The cast this month appears fairly strong, and Yvette Alida Kovács deserves special praise for the lovely and numerous costumes. <strong>January 23, 25, 27, 31</strong></p>
<p><strong><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></strong></p>
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<h2><strong>Fészek Klub (Nest Club)</strong></h2>
<p> </p>
<p><strong><em>17 hattyúk </em></strong>[17 Swans] In this one-woman show based on Péter Esterházy’s tale of a poor Roma cleaning girl, whisked off her feet by a dashing and married businessman, only to dabble in lesbianism, prostitution, and murder before finding peace, the text is a kaleidoscopic mish-mash of modern slang, archaic forms, and neologisms that draws unfavorable comparisons to James Joyce. Yet, the staging is simple and effective. Actress Tünde Majsai-Nyilas delivers this monstrous monologue naturally while holding our attention for 90 minutes – surely a testament to her uncommon talent. <strong>January 24</strong></p>
<p><strong></strong><a href="https://theatredaemon.blog.hu/2018/06/15/roma_nymphomaniacs_in_lit_and_on_stage" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></p>
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<h2><strong></strong><strong>Hatszín Teatrum</strong><strong style="color: #444444; font-size: 13px;"> </strong></h2>
<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>January 3, 14</strong></p>
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<h2><strong>Játékszín (Play Stage)</strong></h2>
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<p><strong><em>Menopauza </em></strong>[Menopause] The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? <strong>January 4, 7, 8, 9, 10, 16</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>January 12, 21</strong></p>
<p><strong><em>Az Üvegcipő </em></strong>[The Glass Slipper] This traditional staging provides a perfect opportunity to discover Ferenc Molnár’s Cinderella tale in the Józsefváros district. The production captures the 1920s boarding-house milieu quite well, but its model is clearly the legendary production of 1962, which featured Gábor Agárdi and Edit Domján. In this version, Dóra Létay is more than capable as the cool-headed landlady Adél. Károly Nemcsák, with his slow, bear-like physicality, makes the role of Sipos, the bourgeois middle-aged carpenter, his own. Réka Thália-Fekete is appealing as the love-struck serving maid Irma, but her devotion to Sipos plays like an older man’s fantasy, too good to be true. <strong>January 14</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_ii_credibility_crises" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here. </strong></a></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>Árpádház</em></strong> [House of Árpád] Spiró’s historical drama follows the Hungarian royal family from Kálmán the Bookish to Géza II (c. 1110-1140), but mostly focuses on Béla II (or Béla the Blind). Despite mostly bland dialogue, this can be a good show (as previous productions have shown) if the producers supplement it with exciting elements. Still, the cast, crew, and musicians here all seem to be holding back. The result is as boring as history class. <strong>January 6</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>January 7, 22</strong></p>
<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>January 8, 20</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>January 13, 24</strong></p>
<p><strong><em>A Pitbull Cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy. <strong>January 22</strong></p>
<p><strong><em>Bebújós</em></strong> [Snuggle in] When the children’s games at nursery school take on a sexual nature, the parents start hysterically pointing fingers, and there are plenty of red herrings to keep the audience guessing. Nearly all the actors play one parent and their respective child, so it is clear how behavior and traits are passed along. Another good show by Andrea Pass! <strong>January 29</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>January 13, 15</strong></p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>January 22</strong></p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>January 24</strong></p>
<p><strong><em>Bunbury </em></strong>[The Importance of Being Ernest] This staging of Oscar Wilde’s classic is strictly by-the-book, ignoring the gay subtext of the original. Still, most of the humor seems to fly over the Hungarian audience’s heads. The costumes are attractive, as are the actors, particularly Zalán Makranczi as John Worthing and Ildikó Tornyi as Gwendolen Fairfax. <strong>January 27</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>January 8, 17, 18, 19</strong></p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>January 9, 26, 27</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/11/a_doll_s_house_and_the_art_of_the_bluff" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>January 14, 27</strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. <strong>January 15, 16, 28</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>The Champion. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>January 17, 18, 19</strong></p>
<p><strong><em>Pali </em></strong>In a prime example of verbatim theatre, actress Zsófia Számosi deeply internalizes the role of Mrs. Paul Maléter – wife of the man who accidently became a leader of the Hungarian Revolution of 1956, only to be arrested and executed by the returning Soviets. She does not beak character under any circumstances. Her story is fascinating and very moving at times, but without conflict. It is a fascinating history lesson and character study, but not drama, only story-telling. Also, the back projections are unnecessary and distracting. (basement space) <strong>January 18, 31</strong></p>
<p><strong><em>Elnöknők </em></strong>[Leading Ladies] This absurd piece by Werner Schwab premiered in 1996 and survives to this day thanks to sublimely grotesque performances by Judit Pogány, Ági Szirtes, and Eszter Csakányi. The piece itself, however, is little more than an ad hoc collection of shocking bits and set pieces. (studio space) <strong>January 30</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>January 14</strong></p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Szólók</em></strong> [Solos] Living up to the title of their production, the Hodworks company delivers a series of dance and performance solos – not without flashes of humor, most memorably supplied by Csaba Molnár. The audience sits in a single row surrounding the space on four sides. If you do not like to be drawn into the action, be aware that dancer Marcio Canabarro makes direct contact with three or four random audience members during the show. <strong>January 29</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Director Vidnyánszky, Sr. is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>January 5, 6, 7, 20, 21</strong></p>
<p><strong><em>Shakespeare Összes Rövidítve (SÖR)</em></strong> [The Complete Works of Shakespeare] This crowd-pleaser premiered in New York around 2000, then turned up in Budapest shortly afterwards. It has been packing audiences in for some 15 years now thanks to the contagious antics of the three-member Madhouse troupe, delivering a delightful, and ultimately respectful, romp through classic literature. <strong>In English! </strong>(workshop space) <strong>January 11, 12</strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>January 15</strong></p>
<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>January 19</strong></p>
<p><strong><em>Othello </em></strong>Director Csaba Kiss begins with a backstage scene in a make-up chair to justify actor Lajos Ottó Horváth’s “choice” to play the Moor with only one black glove to signal, at strategic times, the hero’s racial identity. This first appearance, half naked, tends to undermine his stature as a heroic warrior. It also highlights the age gap with his co-star, Eszter Ács as Desdemona. The duo has chemistry and earnest emotion in the finale, but the evening as a whole falls flat. They receive good support from Dénes Farkas (as Iago) and Andrea Söptei (as Emilia). Even Kinga Katona provides a solid Bianca. Still, Mari Nagy is miscast as Brabantina (here Desdemona’s mother), and Sebestyén László Szabó is completely out of his depth as the Rodrigo. Tension is deflated again and again, and the spectacle of Shakespeare’s Venice and Cyprus is lackluster, to put it kindly. <strong>January 19, 24</strong></p>
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<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
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<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>January 2</strong></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>January 3, 23</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>January 4, 15</strong></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>January 4, 13, 23</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>January 6, 20</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"> </a></p>
<p><strong><em>Patika </em></strong>[Pharmacy] Szép Ernő’s surreal pastoral comedy receives a thought-provoking overhaul courtesy of the Mohácsi brothers (János as director and István as dramaturge), including some material unthinkable in this one-hundred-year-old text. While the protagonist is still the pharmacist’s apprentice Kálmán (played adequately by Máté Novkov, enjoying his first meaty role at the Örkény), additional emphasis is placed on the sad fate of the pharmacist’s wife (skillfully embodied by Réka Tenki). Nonetheless, István Znamenák still steals the second act with his tragicomic-pathetic rant as the drunken, jealous pharmacist. Plus, an additional coda recasts the tiny servant role of Kati (Emőke Zsigmond) not as a life-destroying temptress, but the unsung heroine of her own cyclical tragedy. Five guest artists provide some new faces in the ensemble. I particularly liked László Felhőfi-Kiss as the professor and Árpád Némedi as the gypsy musician. The live music is also effective. Beware, though, that the running time is well over three hours. <strong>January 7, 11, 27, 30</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>January 8, 31</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>January 8, 18, 22, 29</strong></p>
<p><strong>I. <em>Henrik I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>January 9, 12</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/01/16/monumental_theatre" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a></p>
<p><strong><em>Az átváltozás </em></strong>[The Metamorphosis] Like the monolithic panopticon that dominates the set for the first half, this adaptation of a selection of Kafka short stories is rather impenetrable. Gregor Samsa’s transformation is barely glimpsed behind a pop-out window, and then the actor (Csaba Polgár) remains unaffected, although multiplied by an onstage chorus. Is his new bug-like nature only a figment of his imagination? Meanwhile, we never really get to know his family members. There are some moving moments, but possibly only because they reminded me how I felt when I read these stories originally. Eszter Csakányi wields a puppet version of herself, perhaps hinting at the theme of doubled or disturbed identity, but then it is inadequately developed, like much of this show. <strong>January 10</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/04/stage_adaptations" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>January 21</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>January 24</strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>January 29</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>John Gabriel Borkman </em></strong>A must-see for Ibsen fans, this late pay shows him experimenting with allegory and a more symbolist style. What occurs onstage is mostly the consequence of actions taken 10 and 18 years before the plot. On this occasion, Péter Valló’s direction is quite capable, but occasionally seems tired and uninspired. In the larger-than-life lead roles, Géza D. Hegedűs and Enikő Börcsök both shine. Barbara Hegyi is miscast (or misdirected) as Borkman’s embittered wife. Her character could be far more grotesque. Miklós H. Vecsei does well in his smaller role as the defiant son. <strong>January 4, 5, 13, 19, 30</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>January 7, 24, 29</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/04/acting_couples" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here.</strong></a></p>
<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus (which threatens to burst the boundaries of the small Pesti stage), he clearly understands the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>January 11, 21, 22, 27</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>January 18, 20</strong></p>
<p><strong><em>Mikve</em></strong><em> </em>Stick around for the second half of this contemporary Israeli play about a traditional bath facility for pious Jewish women. You may expect it to be a typical women’s drama with everyone’s secrets revealed and everyone crying on each other’s shoulders by the end, but the drama takes a much more radical turn as the community of women from the <em>mikve</em> band together to defy society. It boasts a fine ensemble cast with great performances all around. Barbara Hegyi, in particular, shows uncommon fire in the role of an abused wife. <strong>January 23</strong></p>
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<h2><strong>Pinceszínház (Cellar Theater)</strong></h2>
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<p><strong><em>A Herner Ferike faterja </em></strong>[Frankie Herner’s Father] What was Enikő Börcsök thinking when she directed this turkey of a play? The only thing I can complement is the set (by József Tóth), which features flats outfitted with three-dimensional details, sometimes wildly out of proportion. Playwright János Hay uses mostly the same characters from his breakthrough work <em>Kid Géza</em>, but here the backwater hicks are mostly mocked for their manifold vices. The dialogue, with its incessant stalling and pseudo-profundities, sounds like bad David Mamet. Plus, the scenes of domestic violence are jarring in a comedy, even a poor and offensive one. The experience left me feeling physically ill. <strong>January 10, 24</strong></p>
<p><strong><em>A Gézagyerek </em></strong>[Kid Géza] János Hay’s first successful play is probably his best, with a cast of well-intentioned quarry workers as heroes and Géza, the autistic safety inspector sitting in high crane, as an unlikely symbol of God. The production here has plenty of good actors, but the writing is heavy-handed at times. The lack of vision and nondescript set hardly help. Still, it is a decent humanist tragicomedy with an impressively focused performance by Géza Takács (as Géza) and a touching portrayal of his mother by the wondrous Enikő Börcsök. <strong>January 13, 29</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>10 </em></strong>Both thematically and structurally reminiscent of Krzystof Kieślowski’s <em>Dekalog</em>, Csaba Székely’s new play is structured around the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the ten commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. <strong>January 8, 9, 19, 28</strong></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>January 11, 27</strong></p>
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<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
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<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>January 4</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Végkép </em></strong>[Parting Shot] A divorced couple reunites after 10 years to arrange the sale of their jointly-owned property and are surprised to meet each other’s new lover. Director Rita Csáki adapted the show from a German movie, which we can feel. At times, it is a very intimate theatre experience, but there is a lack of focus and tension. Overall, the actresses prove better than the actors at fleshing out their roles. <strong>January 9, 28</strong></p>
<p><strong><em>Folyóügy</em></strong> [Case in Progress] A clever set and lively stage movement brighten up Braun Barna’s cabaret-like vignettes of Hungarian reality. There are plenty of laughs of recognition, not a terrible amount of depth, and at least one troubling stereotype. Stand-outs in the cast are Katalin Merai and Gábor Jaszberényi. <strong>January 11, 26</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] What is brilliant in this adaptation is the original work by Milán Füst, whose infinitely complicated human relations practically defy the limits of the theatrical medium. While the actors wholeheartedly throw themselves into the First World War setting, the end result can be baffling for audience members. Kati Lábán’s literary taste is exquisite, but her direction is dismayingly flat and mechanical on this occasion. <strong>January 13, 20</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, three Hungarian actors romp their way through nine related short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>January 14</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>January 24</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>January 29</strong></p>
<p><strong><em>Tizennegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>January 31</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>Babaház (Nóra)</em></strong> [A Doll’s House] In this reductive rendition of Ibsen’s revolutionary play, all the characters are dolls, arranged onstage by a mute fellow with a swollen, brainy noggin. (I assume he stands for Ibsen.) Zsuzsanna Lukin, as a spinster with rolled-down stockings, narrates it all, further placing the text in quotation marks. Then, more commentary is added by a deranged young woman, possibly a rape victim, who delivers blasphemous and obscene speeches. Júlia Nyakó (as Nora) and Gábor Nagypál (as Dr. Rank) are able to convey some emotion despite these restrictions. Others, such as Katalin Homonnai (as Kristine) and Noémi Tóth (as the teary maid), manage to be decorative. György Sipos (as a literally spineless Krogstad) is too comic to be an effective antagonist. In spite of some gorgeous stage pictures, it is all inadequately lit by an annoying, abstract, animated projection. This is a perfect example of the art of the bluff, courtesy of director András Jeles. <strong>January 25</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/11/a_doll_s_house_and_the_art_of_the_bluff" target="_blank" rel="noopener noreferrer"><strong>For a detailed review, click here. </strong></a></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>January 26</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>A sütemények királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>January 3, 4, 5</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War Two novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>January 11</strong></p>
<p><strong><em>Öröm és boldogság </em></strong>[Joy and Happiness] Leaving behind the naturalism he used in his trilogy: <em>Mine Flower </em>/ <em>Mine Blindness </em>/ <em>Mine Water</em>, playwright Csaba Székely seeks to explore the lives of gays and lesbians in Transylvania. Still, the picture he paints is far from comprehensive, and the layers of irony further alienate us from the characters. Members of the new 3G Theatre Company from Marosvásárhely throw themselves into the project with gusto, and particularly good is Levente Orbán in the role of a sexually ambiguous pub owner. <strong>With English titles!</strong> Guest performance from Transylvania. <strong>January 12</strong></p>
<p><strong><em>I. Erzsébet</em> </strong>[Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some troubling stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici). <strong>January 20</strong></p>
<p><strong><em>Fácántánc</em></strong> [Pheasant Dance] This altogether different offering by Béla Pintér’s company does not appeal to our emotions. Rather, it unfolds like an intellectual fable. An orphanage / sweat-shop in Hungary, once it is freed from Turkish domination, embraces the bureaucratic and liberal ways of the West. Then, a leaked recording shifts the power from Mrs. Rázga to the gender-bending Gabi, who wishes to lean East, in a more illiberal direction. Thinly veiled political commentary? Perhaps, but it is entertaining and thought-provoking, predicting that the next generation (with no models of good leadership) will move in a radical direction. <strong>January 23, 24</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Az időnk roved törtenete</em></strong> [A Brief History of Our Time] Get a seat near the front in order to appreciate the fine puppetry as four elderly strangers embark on an odyssey to dispose of their mutual friend’s ashes. A touching show, but despite the puppets, not recommended for children! <strong>January 9</strong></p>
<p><strong><em>Kálvária lakópark</em></strong> [Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under odd circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, though, Kálmán Varju proves the best at inhabiting this uncannily funny, disturbing, and memorable world. <strong>January 28</strong></p>
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<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
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<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>January 11</strong></p>
<p><strong><em>Janika </em></strong>[Little Johnny] A middle-age Budapest diva is surprised by the director lover who jilted her 14 years before, just as she is preparing for a pant’s role, and she convinces him that she herself is their illegitimate child, paving the way for more complications. If you find Neil Simon too heavy and thought-provoking, <em>Little Johnny </em>may be just right for you. There is plenty of broad humor and ham acting without one moment of truth. <strong>January 22</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>January 12</strong></p>
<p><strong><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_i_decoding_direction" target="_blank" rel="noopener noreferrer">For a detailed review, click here.</a></strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
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<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being distressingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>January 2, 9, 15, 20, 23, 29</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>January 6, 24</strong></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, director Enikő Eszenyi gets it right. The First World War portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>January 10, 11, 16, 21, 22, 24, 26, 27</strong></p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>January 12</strong></p>
<p><strong><em>Bűn és bűnhődés </em></strong>[Crime and Punishment] Director Michal Dočekal creates a unified look and a clever “crime scene” conceit for this intelligent précis of Dostoevsky’s classic novel, but practically no one in the talented cast can live up to the larger-then-life characters (possible exceptions being Zoltán Karácsonyi as Svidrigailov and Miklós H. Vecsei in his one-minute appearance as Mikolka). András Stohl evokes the Columbo side of committed police inspector Porfiry’s personality, but fails to bring out the character’s transcendent nature. Rather than soar to redemptive heights, this production remains earthbound. <strong>January 18</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. (studio space) <strong>January 27</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in</p>
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Budapest Theatre Digest
https://theatredaemon.blog.hu
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQhkzSR1ox61CedL8Ji70IEawpBfIJlh3cpZGR1bmXMz18Gq1VZuQ
https://theatredaemon.blog.hu/2018/11/29/guide_to_performances_in_december_604
GUIDE TO PERFORMANCES IN DECEMBER 2018
2018-11-29T08:24:36+01:00
2018-11-29T08:24:36+01:00
Patrick Mullowney
https://blog.hu/user/1314065
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<p> <img src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQhkzSR1ox61CedL8Ji70IEawpBfIJlh3cpZGR1bmXMz18Gq1VZuQ" alt="Image result for robot images" width="558" height="274" /></p>
<p> </p>
<p><strong>The end of another year, and it seems to approach at break-neck speed. If you can take time out of the office parties, last-minute get-togethers, and feverish holiday preparations, here are some of your theatrical entertainment options.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
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<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
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<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Edward II</em></strong><em> </em>Marlowe’s classic drama about the martyred gay king receives a splendid production thanks to director Róbert Alföldi and great performances by Ernő Fekete (of the Katona József Company, here playing the title role) and Márton Patkós (as his young lover). A thoughtful consideration of sexuality and politics, highly recommended. <strong>December 1</strong></p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>December 2, 3</strong></p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending may just be worth the 3-hour running time. <strong>December 4, 5, 31</strong></p>
<p><strong><em>A soha vissza nem terő </em></strong>[The Never to Return] Belonging to that category of Béla Pintér pieces portraying hapless characters on a doomed mission, this play tackles themes of unrequited love, betrayal, and cultural clashes. The language and staging is more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! <strong>December 29</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theater)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7th-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>December 1</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath’s 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door-slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>December 1, 29</strong></p>
<p><strong><em>Vőlegény</em></strong> [The Bridegroom] While Ernő Szép’s play is a provocative treat from the 1920s, in which a struggling lower-middle-class family is happy to prostitute their youngest daughter if the financial rewards are adequate, the cast fails to evoke a convincing picture of everyday life in the crowded flat. Tamás Kimmel-Szabó is splendid in the title role. Patricia Kovács is adequate. With time, György Gazsó and Katlin Takács may strike the right balance as the young girl’s parents. The double seduction scene in the second act is the highlight, but all too often, director Eszter Novák replaces comedy with onstage busy-ness. <strong>December 1</strong><strong>0</strong></p>
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<h2><strong>Latinovits Theater in Budaörs</strong></h2>
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<p><strong><em>Godot-ra várva</em></strong> [Waiting for Godot] Beckett’s classic modern opus of cabaret comedy and ennui features two homeless drifters, Vladimir and Estragon, who await the arrival of the god-like Godot. Miklós B. Székely was born to play Vladimir, but he is the consummate natural actor. (Just listen to how he interrupts!) József Tóth, on the other hand, is more stylized as Estragon. For the first half, they seem to be in different plays. Why is Vladimir so fond of Estragon? Why does Estragon delight in teasing him? The relationship needs more fleshing out. Yes, I wish the producers had devised a more creative visual world for this play. I wish Róbert Ilyés would identify with his character more and stop playing for effect. The first 90 minutes is tough, but what is Beckett without a little pain? In act two, the magic of the language asserts itself. The humor is preserved as the show achieves a sense of annihilating despair. If you need a fix of Beckett, the second act delivers. <strong>December 21</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/02/13/beckett_in_budapest" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the related article.</em></a></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>December 7, 11, 13, 29</strong></p>
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<h2><strong>Erkel Színház (Erkel Theater)</strong></h2>
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<p>The Erkel is the main venue for the Hungarian State Opera’s performances now that the traditional opera house is under reconstruction. You can find it in the recently renamed Pope John-Paul II Square (<em>II.János Pál papa tér</em>) or turn onto Luther Street from Rákóczi Avenue.</p>
<p><strong><em>A Nyugat lánya </em></strong>[The Girl of the Golden West]<strong> </strong>Don’t expect much Wild West in the Erkel’s new production<strong><em>. </em></strong>Russian director Vasily Barkhatov has envisioned a pipe commune filled with a diverse mix of immigrants and itinerant workers. Minnie, the heroine, appears as a dowdy aid worker. For the first two acts, the concept works. The orchestra plays brilliantly, and the male chorus is good; only the static set hinders the ensemble acting, and some of the blocking is clunky, as are the spoken bits. Then, in act three, all logic goes out the window, which is frustrating. Puccini was not only a master composer, but a master dramaturge. The production would have been much more successful if the producers had remained true to the original. This opera is overdue for reappraisal. It is just as tear-jerking as Puccini’s “classics,” the music is glorious, and it is more uplifting than his other works, expressing how Mankind is capable of mercy and how redemption is always possible. (As for the cast, Szilvia Rálik is more credible as Minnie than Éva Bátori. Gaston Rivero may overact at times, but he is vocally much stronger than Gergely Boncsér in the role of Dick Johnson. Both Csaba Szegedi and Florin Estefan are decent as Sheriff Rance.). <strong>December 1, 4, 6, 9, 13, 16</strong></p>
<p><strong><em>Bohémélet </em></strong>[La Bohème] This traditional staging of Puccini’s sure-fire tear-jerker serves up exactly what you would expect with no surprises – an appropriately shoddy garret for the bachelor artists and a predictably cluttered street scene to replicate the Parisian café milieu. Still, if you do not like modern tinkering with the classics, this is a safe entertainment bet. <strong>December 8, 15, 21, 23, 25, 27</strong></p>
<p><strong><em>A denevér </em></strong>[Die Fledermaus] What a great way to ring in the New Year, you might think, with Johann Strauss, Jr.’s elegant Viennese opera. Don’t fall for the trap! The lifeless direction by Miklós Szinetár sucks every iota of life out of the sparkling piece. The result is flat champagne left out overnight during a rainstorm. <strong>December 31</strong></p>
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<h2><strong>Hatszín Teatrum</strong></h2>
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<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>December 11, 19, 20</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>December 20, 30</strong></p>
<p><strong><em>Az Üvegcipő </em></strong>[The Glass Slipper] This traditional staging provides a perfect opportunity to discover Ferenc Molnár’s Cinderella tale in the Józsefváros district. The production captures the 1920s boarding-house milieu quite well, but its model is clearly the legendary production of 1962, which featured Gábor Agárdi and Edit Domján. In this version, Dóra Létay is more than capable as the cool-headed landlady Adél. Károly Nemcsák, with his slow, bear-like physicality, makes the role of Sipos, the bourgeois middle-aged carpenter, his own. Réka Thália-Fekete is appealing as the love-struck serving maid Irma, but her devotion to Sipos plays like an older man’s fantasy, too good to be true. <strong>December 21</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/02/offenbach_ii_credibility_crises" target="_blank" rel="noopener noreferrer"><em>For a detailed review, read the related article.</em></a></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>December 5</strong></p>
<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>December 6</strong></p>
<p><strong><em>Árpádház</em></strong> [House of Árpád] Spiró’s historical drama follows the Hungarian royal family from Kálmán the Bookish to Géza II (c. 1110-1140), but mostly focuses on Béla II (or Béla the Blind). Despite mostly bland dialogue, this can be a good show (as previous productions have shown) if the producers supplement it with exciting elements. Still, the cast, crew, and musicians here all seem to be holding back. The result is as boring as history class. <strong>December 9</strong></p>
<p><strong><em>Bebújós</em></strong> [Snuggle in] When the children’s games at nursery school take on a sexual nature, the parents start hysterically pointing fingers, and there are plenty of red herrings to keep the audience guessing. Nearly all the actors play one parent and their respective child, so it is clear how behavior and traits are passed along. Another good show by Andrea Pass! <strong>December 9</strong></p>
<p><strong><em>Menekülj okosan! </em></strong>[Flee Wisely] Like Lifeboat Group’s previous offering <em>Sociopoly</em>, this production combines elements of interactive theatre and board games in an effort to enlighten the audience about a particular issue – in this case, the refugee crisis. We sit in a classroom on four sides of the acting space and represent a community of villagers who must flee Hungary on account of some unnamed disaster. The game gets off to a slow start as we try to determine the rules and figure out how much of this is theatre, storytelling, and lecture. There are some kinks to work out, but plenty of thought-provoking material to discuss long after the performance. Strong command of Hungarian needed to play! <strong>December 10</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/12/responses_to_the_refugee_crisis" target="_blank" rel="noopener noreferrer"><em>For a detailed review, read the related article.</em></a></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>December 12</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>December 11</strong></p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>December 16, 30</strong></p>
<p><strong><em>Az ördög</em></strong> [The Devil] The painter János is in love with his best friend’s wife, but to melt her cold, cold ice, he is going to need the help of the devil. Ferenc Molnár’s comedies often have dramatic moments (see <em>The Glass Slipper </em>and <em>The Guardsman</em>), but this play, his first international success, has plenty of purple passages. It is staged on a set that suggests lavish lifestyles, but the effect is strikingly fake. Much more attention went into the costumes, which are pretty, but why they did not put the devil in a tuxedo for the second act (when it was mentioned specifically in act one) I will never know. Thankfully, Tamás Földes is good in the loquacious title role. The romantic leads are much less charismatic. <strong>December 29</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>December 5, 11</strong></p>
<p><a href="https://theatredaemon.blog.hu/2018/03/11/a_doll_s_house_and_the_art_of_the_bluff" target="_blank" rel="noopener noreferrer"><em>For a detailed review, read the related article.</em></a></p>
<p><em><strong>Pali </strong></em>A good example of verbatim theatre, actress Zsófia Számosi deeply internalizes the role of Mrs. Paul Maléter – wife of the man who accidentally became a leader of the Hungarian Revolution of 1956, only to be arrested and executed by the returning Soviets – and does not beak character under any circumstances. Her story is fascinating, very moving at times, but without conflict. While it is a fascinating history lesson and character study, it is not drama, only story-telling. Also, the back projections are unnecessary and distracting. (basement space) <strong>December 5, 11</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>December 6, 27</strong></p>
<p><strong><em>A két Korea újraeyesítése</em></strong> [Reunion of the Two Koreas] This love-it-or-loathe-it offering from the celebrated Katona József Theatre showcases its excellent company of actors in Joël Pommerat’s roughly 20 unrelated and underdeveloped scenes about rotten relationships. Some consider it a triumph of good acting over poor material. In my opinion, however, the vomitous script cannot be redeemed. <strong>December 8, 9, 31</strong></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>December 8</strong></p>
<p><strong><em>Elnöknők </em></strong>[Leading Ladies] This absurd piece by Werner Schwab premiered in 1996 and survives to this day thanks to sublimely grotesque performances by Judit Pogány, Ági Szirtes, and Eszter Csakányi. The piece itself, however, is little more than an ad hoc collection of shocking bits and set pieces. (studio space) <strong>December 26</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>December 27, 28</strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. The tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. <strong>December 31</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>December 7, 8</strong></p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Szólók</em></strong> [Solos] Living up to the title of their production, the Hodworks company delivers a series of dance and performance solos – not without flashes of humor, most memorably supplied by Csaba Molnár. The audience sits in a single row surrounding the space on four sides. If you do not like to be drawn into the action, be aware that dancer Marcio Canabarro makes direct contact with three or four random audience members during the show. <strong>December 19</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Éden földön</em></strong> [Eden on Earth] The legend of Istók Hany is Hungary’s answer to <em>L’enfant sauvage.</em> Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. <strong>December 8, 9</strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>December 13</strong></p>
<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Vidnyánszky is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>December 21, 22, 27</strong></p>
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<h2><strong>Ódry Színpad (Ódry Stage)</strong></h2>
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<p><strong><em>A Nyíregyháza utca </em></strong>[Nyíregyháza Street] A group of Hungarian sex workers are abandoned by their pimp in Amsterdam, failed by a buffoonish aid organization, and fall into the hands of a mad madam who has them doing performance art in public. Eszter Anna Szilágyi’s exposé drama is eye-popping, but twice as long as it should be. (Why toss in Verdi’s gypsy chorus from <em>La Traviata </em>when there was a better musical number with original Hungarian lyrics towards the beginning?) Despite strong, spirited, talented performances, the play mystifies more than it enlightens. <strong>December 16</strong></p>
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<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
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<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>December 1</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>December 1, 20</strong></p>
<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>December 6</strong></p>
<p><strong><em>IV. </em>Henrik<em> I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>December 7</strong></p>
<p><a href="https://theatredaemon.blog.hu/admin/post/edit/13580751" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the related article.</em></a></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>December 7, 27</strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>December 8</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>December 18</strong></p>
<p><a href="https://theatredaemon.blog.hu/admin/post/edit/13580751" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the related article.</em></a></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>December 18</strong></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>December 19</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>December 22, 25</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>December 27, 31</strong></p>
<p><strong><em>Az átváltozás </em></strong>[The Metamorphosis] Like the monolithic panopticon that dominates the set for the first half, this adaptation of a selection of Kafka short stories is rather impenetrable. Gregor Samsa’s transformation is barely glimpsed behind a pop-out window, and then the actor (Csaba Polgár) remains unaffected, although multiplied by an onstage chorus. Is his new bug-like nature only a figment of his imagination? Meanwhile, we never really get to know his family members. There are some moving moments, but possibly only because they reminded me how I felt when I read these stories originally. Eszter Csakányi wields a puppet version of herself, perhaps hinting at the theme of doubled or disturbed identity, but then it is inadequately developed, like much of this show. <strong>December 28</strong></p>
<p><a href="https://theatredaemon.blog.hu/admin/post/edit/13629422" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the related article.</em></a></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>December 30</strong></p>
<p><strong> </strong></p>
<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>Mikve</em></strong><em> </em>Stick around for the second half of this contemporary Israeli play about a traditional bath facility for pious Jewish women. You may expect it to be a typical women’s drama with everyone’s secrets revealed and everyone crying on each other’s shoulders by the end, but the drama takes a much more radical turn as the community of women from the <em>mikve</em> band together to defy society. It boasts a fine ensemble cast with great performances all around. Barbara Hegyi, in particular, shows uncommon fire in the role of an abused wife. <strong>December 2, 30</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>December 5, 6</strong></p>
<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus (which threatens to burst the boundaries of the small Pesti stage), he clearly understands the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>December 7, 18, 20</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>December 19</strong></p>
<p><a href="https://theatredaemon.blog.hu/admin/post/edit/13634306" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the relate article.</em></a></p>
<p><strong> </strong></p>
<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>December 11, 27</strong></p>
<p><strong> </strong></p>
<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
<p><strong> </strong></p>
<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>December 11</strong></p>
<p><strong> </strong></p>
<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
<p> </p>
<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>A tizennegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>December 5</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, the three Hungarian actors romp their way through nine interlocking short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre sense of humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>December 8</strong></p>
<p><strong><em>Folyóügy</em></strong> [Case in Progress] A clever set and lively stage movement brighten up Braun Barna’s cabaret-like vignettes of Hungarian reality. There are plenty of laughs of recognition, not a terrible amount of depth, and at least one troubling stereotype. Stand-outs in the cast are Katalin Merai and Gábor Jaszberényi. <strong>December 12</strong></p>
<p><strong><em>Egy doktorkisasszony napójegyzetei </em></strong>[A Young Woman Doctor’s Diary Entries] What is brilliant in this adaptation is the original work by Milán Füst, whose rendering of infinitely complicated human relationships practically defies the limits of the theatrical medium. While the actors wholeheartedly throw themselves into the World War I setting, the end result can be baffling for audience members. Kati Lábán’s literary taste is exquisite, but her direction is dismayingly mechanical and uninspired on this occasion. <strong>December 16</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>December 19</strong></p>
<p> </p>
<h2><strong>Spirit Színház (Spirit Theater)</strong></h2>
<p><strong> </strong></p>
<p>When you enter Spirit Színház (near Elvis Presley Park, just north of Margaret Bridge on the Buda side), you are confronted with an aquarium, then a long hall with a coat check, exposed brick, books for sale, a buffet, a confusing mix of decorations, and live piano music. Audience members line up well before they are allowed into the nondescript studio space upstairs, and with reason. There is practically no hope of a good view of the acting space if you sit anywhere behind the fourth row.</p>
<p><strong><em>Bernarda Alba háza</em></strong> [House of Bernarda Alba] This classic play about sexual repression by Frederico Garcia Lorca is sensational; yet, all the elements here – the set, costumes, staging, and characterizations – fall a bit below the mark, not quite capturing the claustrophobia, hysteria, and menace of the original. The sound effects are particularly ill-advised. That said, the performances are heartfelt, and story holds our attention for the duration (90 minutes without a break). Overall, it has the quality of an exceptionally good amateur performance – quite moving for the initiated, but none too revealing if you go in cold. <strong>December 3, 17</strong></p>
<p><strong><em>A fizikusok</em></strong> [The Physicists] The key to Dürrenmatt’s classic mind-bending play is the name of the main character, Dr. Möbius, an inmate of a mental institution where a series of nurses are killed. The Möbius strip is three-dimensional, but has only one side. Thus, the three inmates in this piece may all be insane or may all be brilliant physicists. Both stories are possible at the same time. The actors who understand the game stand out from the pack. They include Andrea Sztárek, Ági Gubik, and Kálmán Varju. The others are simply occupying space. This is salient in the case of János Perjés, who does little more than recite lines as Dr. Möbius. He has starring roles in several of the shows at Spirit Színház, which is beginning to resemble a vanity venue. <strong>December 15</strong></p>
<p> </p>
<h2><strong>Stúdió K (Studio K)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>December 2, 30</strong></p>
<p> </p>
<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
<p><em> </em></p>
<p><strong><em>Caligula helytartója</em></strong> [Caligula’s Deputy] Transylvanian playwright János Székely’s drama (set in Ancient Roman times, but with parallels to despotic Communist rule) is a modern classic. It receives a fine production here with thoughtful (and by no means boring) direction by Rémusz Szikszai and a fine turn by Gábor Nagypál in the title role. <strong>December 7</strong></p>
<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War II novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>December 9</strong></p>
<p><strong><em>Szívszakadtig</em></strong> [Till Heartbreak] What begins as a romantic melodrama about heart transplants takes a dive into political button-pushing with the sudden appearance of a half-black, illegitimate, retarded young man capable of astonishing violence if he ever receives the love that he craves. Writer Béla Pintér is out to provoke our worst fears about immigrants, but the result is a rancid brew. Best to skip this one. <strong>December 18, 19, 20, 21</strong></p>
<p> </p>
<h2><strong>Trafó House of Contemporary Arts</strong></h2>
<p><em> </em></p>
<p><strong><em>Pirkad </em></strong>[Dawn] Two completely nude male-female couples perform Adrienn Hód’s roughly 50 minutes of choreography, building to a shuddering climax before lapsing into catatonic calm. A must-see for fans of modern dance, but absolutely inappropriate for a fist date! <strong>December 3</strong></p>
<p><em><strong>Kálvária lakópark</strong> <strong> </strong></em>[Calvary Housing Estate] To be honest, I do not completely understand Rozi Székely's first staged work. Still, it has a unique way of see-sawing between naturalism and absurdity, and it shows plenty of promise. When the heroine (Niké Kurta) inherits an apartment from her estranged father, who died under strange circumstances, she welcomes it as a chance for freedom, but then her mother (Júlia Nyakó) plans to invade the flat with her enigmatic lover (Kálmán Varju). The humor is off-beat, and the best at delivering it is the playwright herself, who appears briefly in the first scene. Overall, Kálmán Varju proves the best at inhabiting this uncannily funny, disturbing, and memorable world. <strong>December 5</strong></p>
<p> </p>
<h2><strong>Turay Ida Színház (Ida Turay Theater)</strong></h2>
<p><strong> </strong></p>
<p><strong><em>A medve nem játék!</em></strong> [Bears Are No Game!] Perhaps the only reason to see this show is if you wish to understand the <em>góbé </em>stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the <em>kocsma</em>, and the suffering wives toil all day long. Even the <em>Playboy </em>that one character reads is outdated, since the magazine no longer features nude women. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. <strong>December 29</strong></p>
<p> </p>
<h2><strong>Újszínház (New Theater)</strong></h2>
<p> </p>
<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>December 16</strong></p>
<p><a href="https://theatredaemon.blog.hu/admin/post/edit/13709856" target="_blank" rel="noopener noreferrer"><em>For a detailed review, see the related article.</em></a></p>
<p> </p>
<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
<p><strong><em> </em></strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>December 2, 6, 16, 19, 25, 26, 29, 30, 31</strong></p>
<p><strong><em>A diktátor </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The World War I portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>December 7, 18, 20</strong></p>
<p><strong><em>A vándorkutya </em></strong>[Wander Dog] Hovering on a scale of absurdity somewhere between <em>The Bald Soprano </em>and <em>Who’s Afraid of Virginia Woolf?</em>, this high-concept outing by Andrea Pass does not delve too deeply into character. Rather, it flirts with Hitchcock tropes to dissect relationships that are outwardly happy, but inwardly miserable. Judit Halász is strong as the senile mother, while Renáta Tar and Zoltán Karácsonyi are delightfully over-the-top. <strong>December 18, 29</strong></p>
<p><strong><em>Hamlet</em></strong> For the first time in its long history, Vígszínház hosts the Danish prince and does so on a wondrous set that lifts, descends, rotates, lights up, shows videos, etc. Still, the dramaturgy gets a little wonky, starting off with a <em>dues ex machine</em> (the ghost’s appearance), but then not following through with it. (I could imagine Fortinbras appearing at the end in the same fashion, but certainly not Laertes.) Attila Vidnyánszky, Jr., brings astounding energy and physicality to his battle with this unwieldy text, but he seems to be abusing his vocal chords for the last two hours. In the second half, there is a purifying pool of water, where Hamlet and Gertrude (Enikő Börcsök) share an incestuous kiss, and where King Claudius (Géza D. Hegedűs) and Ophelia (Nóra Réti) take separate nude dips (the former flamboyantly, the latter bashfully). All in all, the message is difficult to discern. Who is this Hamlet who impersonates his mother in drag before the whole court, and who has much more chemistry with the Player King (Károly Hajduk) than with Ophelia? He begins to resemble Helmut Berger’s character from the Visconti film <em>The Damned. </em>On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. <strong>December 21</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>December 27</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>December 30</strong></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2018/11/18/plays_that_deserve_to_be_revived
Plays that Deserve to be Revived
2018-11-18T19:03:46+01:00
2018-11-18T19:03:46+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://i.pinimg.com/236x/82/16/53/8216533cea9228a5504b6b53cf034d33--the-skin-teeth.jpg" alt="Image result for skin of our teeth pictures" width="495" height="371" /></p>
<h2><strong>A friend and colleague recently asked me for suggestions about good plays that could be produced in Budapest. Naturally, she was thinking of pieces that have been translated to Hungarian, if that is not the original language. I had some fun compiling this list for her, starting with the Hungarian works I would like to see on the stage. (Photo from a production of <em>Skin of Our Teeth</em>)</strong></h2>
<p> </p>
<p><strong><em>Elvezett paradicsom </em></strong><strong>[Lost Paradise] (1961)</strong></p>
<p>Successful Kádár-Era screenwriter Imre Sarkadi takes a rosy look at life in the countryside. The play is like a time capsule, very slow and gentle with a melancholy sense that this fragile order cannot last. No one from the younger generation seems fit to take over the role of the wise patriarch Sebők; and his most intelligent son, the doctor Zoltán, must face the consequences for a botched illegal abortion.</p>
<p><strong><em>Ezer év </em></strong><strong>[One Thousand Years] (1955)</strong></p>
<p>Novelist Ferenc Karinthy (son of even more famous Frigyes Karinthy) penned this play, which is a curiosity now. The first half is a timeless story of a bad romance, when Anna is dumped by her married lover just after realizing she is pregnant. The second half is a trial and investigation of the resulting attempted abortion / child murder, run by a judge, prosecutor, and detective at the scene of the crime with all the participants. They strictly address each other as comrade [<em>elvtárs</em>] and briefly discuss the Communist worldview, which makes it a fascinating peek at that oppressive era, shortly before the revolution.</p>
<p><em>Both plays of these Hungarian plays are good, but are modern audiences at all interested in this period? Maybe it is too recent to be fascinating. Or maybe they would prefer to forget about it.</em><strong></strong><em></em></p>
<p> </p>
<h2><strong>Here are my recommendations for non-Hungarian plays in a mostly random order.</strong></h2>
<p> </p>
<p><strong><em>Tiny Alice</em> by Edward Albee</strong></p>
<p>There is a Hungarian translation of this, although that is no guarantee that it does justice to the original. Perhaps my favorite play by Albee, it presents an odd <em>Twilight Zone</em> attack on organized religion, but it is rarely performed.</p>
<p><strong><em>The House of Bernardo Alba </em>by Frederico Garcia Lorca</strong></p>
<p>I love this play. Spirit Theatre has just revived it, as did the now nonexistent Budapest Kamraszínház (Chamber Theatre) around ten years ago, but neither was able to evoke the piece’s poetry or fearsome menace.</p>
<p><strong><em>Devotion to the Cross </em>by Calderon de la Barca</strong></p>
<p>This work by Calderon is loony as a lark and practically never staged. It is the tale of an anti-saint who, despite his sins, often benefits from miracles and divine intervention. He cannot marry the woman he loves, so he fights a duel, becomes a bandit, then breaks into a convent in order to spend one night of passion with his beloved. Still, he cannot consummate the deed, because he nearly loses his mind when he sees a birthmark (identical to his) on her body. Eventually, it is revealed that they are twin siblings separated at infancy. The style is over-the-top romanticism – like Schiller’s <em>The Robbers</em>, but with a distinctly Spanish feel<em>.</em></p>
<p><strong><em>The Trickster of Seville and His Guest of Stone</em> by Tirso de Molina</strong></p>
<p>On the subject on Spanish drama, why not do the original play about Don Juan? It is better than all the copies (even the Mozart opera), and practically no one knows it.</p>
<p><strong><em>The Marriage of Figaro </em>by Beaumarchais. </strong></p>
<p>Speaking of operas, the original Beaumarchais play is, in my opinion, one of the funniest comedies ever written. They did it about 13 years ago at Centrál Theatre, but were unable to deliver the humor.</p>
<p><strong><em>Juno and the Paycock </em>by Sean O'Casey</strong></p>
<p>This can be a very moving drama. (I saw a fine production once in New York.) There are several roles for good actors. It also has a very modern way of mixing drama with comedy. The play concludes with a comic scene of the husband’s drunkenness, just after Juno, his wife, learns about the tragic death of their son.</p>
<p><strong><em>Liola </em>by Luigi Pirandello </strong></p>
<p>This play is very uncharacteristic of Pirandello – no philosophy, just pleasant comedy with a dose of heavy melodrama. The protagonist Liola is an incorrigible rogue and a Don Juan. I have never heard of anyone staging it!</p>
<p><strong><em>Lysistrata </em>by Aristophanes</strong></p>
<p>Isn’t it always a good time for <em>Lysistrata?</em></p>
<p><strong><em>Hecuba </em>by Euripides</strong></p>
<p>While we are on Ancient Greek drama, it is worth considering this rarely revived piece by Euripides. In his sequel to <em>The Trojan Women</em>, Hecuba is being taken by ship to Greece, where she will be a slave in some noble household. Yet, when they stop at an island where she believes that she has safely hidden her son (her last surviving child), she learns that she has been tragically double-crossed. In her desire for revenge, she loses all humanity. This would be a great role for a talented older actress.</p>
<p><strong><em>Phaedra </em>by Jean Racine or </strong><strong><em>The Infernal Machine </em>by Jean Cocteau</strong></p>
<p>These are two adaptations of Ancient Greek tragedy by French writers. Racine is much more classical in his approach (beautiful speeches). Cocteau’s work is rather a respectful deconstruction of Oedipus. Who knows? Audiences liked <em>Orestes </em>at the Radnóti. Why not take a try on one of these works?</p>
<p><strong><em>La Ronde </em>by Arthur Schnitzler</strong></p>
<p>This classic sex comedy set in Vienna inspired an enchanting French film adaptation directed by Max Ophüls. I would love to see a good production of it someday.</p>
<p><strong><em>The Marriage of Bette and Boo</em> by Christopher Durang</strong></p>
<p>Of all Christopher Durang’s work, I think this one mixes comedy and sadness the most brilliantly. We watch the breakdown of an unsuccessful marriage through the eyes of the son as he grows up and struggles to make sense of his parents’ dysfunction.</p>
<p><strong><em>Major Barbara</em> by George Bernard Shaw</strong></p>
<p>In my opinion, this is the most thought-provoking of G. B. Shaw’s plays. It boasts a very strong idealistic heroine who becomes cruelly disillusioned. The long debate at the end about the morals of profiteering from war is still troubling and topical. </p>
<p><strong><em>Little Murders </em>by Jules Feiffer</strong></p>
<p>I am not sure if this play would speak to a Hungarian audience. A nihilistic artist (who has successful exhibitions which are entirely his photos of feces) finds new meaning in life through the efforts of his optimistic fiancée, just before she is killed in a random shooting. The grieving family members eventually surrender to the spirit of senseless violence.</p>
<p><strong><em>Arcadia </em>by Tom Stoppard</strong></p>
<p>Has this ever been done in Hungary? Stoppard’s play is beautiful and philosophical. It also takes a very optimistic view of the world and history, which is refreshing.</p>
<p><strong><em>Easter </em>by August Strindberg</strong></p>
<p>I am fond of this Strindberg play, as it maintains a delicate balance between naturalism and fantasy, like Scandinavian magic realism. No one ever stages it.</p>
<p><strong><em>The Revenger's Tragedy </em>by Cyril Tourneur</strong></p>
<p>This is practically a spoof of revenge tragedies (think <em>Spanish Tragedy </em>or <em>Hamlet</em>). Tourneur has all the tropes we love along with a simplified plot full of sex and violence.</p>
<p><strong><em>The White Devil </em>by John Webster </strong></p>
<p>Staying within this period, we find Webster, one of the most powerful and sensational playwrights of all time. Although he is overshadowed by Shakespeare, his plays are still brutally effective. This complicated revenge tragedy packs in plenty of violence, sex, and intrigue, as well as some unforgettably horrific moments.</p>
<p><strong><em>The Changeling </em>by Thomas Middleton (with William Rowley)</strong></p>
<p>An amazing psychodrama from the Jacobean period. Truly scary.</p>
<p><strong><em>Volpone </em>by Ben Jonson</strong></p>
<p>This is a challenging comedy, but it has plenty of great moments for talented performers. (There must be a Hungarian version. I saw Tamás Major playing the lead role on television, but he could not really embody the trickster anti-hero.)</p>
<p><strong><em>The Country Wife </em>by Wiliam Wycherly</strong></p>
<p>Restoration comedy can be difficult to bring to the modern audience. (The József Katona Theatre was unsuccessful with Congreve’s <em>Way of the World</em> a few years ago.) Still, I would love to see someone stage <em>The Country Wife</em>, simply because it is the most brutal, savage, and ribald example of the genre. This is satire with teeth!</p>
<p><strong><em>The Skin of Our Teeth </em>by Thorton Wilder</strong></p>
<p>Speaking of teeth, this piece by Wilder is sublimely weird and oh, so different from his sentimental tone in <em>Our Town. </em>A Hungarian translation already exists. Maybe it would seem dated now, but it is absolutely unique.</p>
<p><strong><em>Lemon Sky</em> by Lanford Wilson</strong></p>
<p>I am not sure if this family drama from 1970 would strike a chord with modern Hungarians, but it is a very personal examination of the normal suburban family (which many modern citizens aspire to). Abandonment and the longing for love seem to be the major themes, along with all the dysfunction that can lurk behind the picture-perfect surface.</p>
<p><strong><em>Search and Destroy </em>by Howard Korder</strong></p>
<p>A distinctly 1980s American atmosphere hangs over this piece by Korder. The protagonist is an idealistic loser who learns that to be successful he must become a criminal and an asshole.</p>
<p><em>In the current theatrical climate in Hungary, theatres seem to choose from a rather limited range of plays. After all, how many productions of </em>Seagull<em>, </em>As You Like It<em>, and </em>Woyzeck<em> do we really need? Allow this to be my contribution to theatrical diversity. In fact, the possibilities are limitless. Perhaps they can begin staging the plays that I have written!</em></p>
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Budapest Theatre Digest
https://theatredaemon.blog.hu
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https://theatredaemon.blog.hu/2018/11/06/guide_to_performances_in_november_309
GUIDE TO PERFORMANCES IN NOVEMBER 2018
2018-11-06T00:52:19+01:00
2018-11-06T00:52:19+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p><img src="https://m.blog.hu/th/theatredaemon/image/35868d42ddea35b3fd824e4da6d3fe69.jpg" alt="Image result for boy thinking pictures" width="461" height="351" /></p>
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<p><strong>Demand for theatre entertainment is high now in Budapest, and the market is responding with more venues and more options than ever. Covering the scene seems too much for one reviewer, but until I can solve this problem, here are my humble tips for November 2018.</strong></p>
<p><strong>Entries are arranged by theater or venue.</strong></p>
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<h2><strong>Átrium Színház (Atrium Theater)</strong></h2>
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<p>This former cinema retains its classy, nostalgic interior, and there is a great buffet with tasty cakes, coffee, and drinks. Still, expect steeper than usual prices (for the tickets, too). The stage was never remodeled. We are gazing at where the movie screen used to be, so the sight-lines are a little wonky. Clever directors are able to work around this, though.</p>
<p><strong><em>Titkaink</em></strong> [Our Secrets] This bomb devised by Béla Pintér exploded in 2014, and it has left audiences shaken ever since. As an intelligent exposé of Communist-era informers, the dance house movement, and pedophilia, it is simply unbeaten at straining the viewers’ nerves to their breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! <strong>November 3, 4</strong></p>
<p><strong><em>Kaiser TV, Ungarn</em></strong><em> </em>Time travel and a mythical 19<sup>th</sup>-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. <strong>November 11, 12</strong></p>
<p><strong><em>Tündöklő középszer</em></strong> [Dazzling Mediocre] An altogether lighter offering by Béla Pintér, this exercise in self-parody focuses on the petty internal conflicts of an independent theatre company in Budapest, but there is plenty of heart-wrenching humor to be found. Pay attention to the play-within-a-play written by the dim-witted impresario Géza. It could be the great absurd drama the actual author has yet to write. Recommended for confirmed Pintérites. <strong>November 13, 14</strong></p>
<p><strong><em>Chicago </em></strong>Don’t expect much glitz and glamour from director Alföldi’s bargain-basement revival of this famous, but still unsettling Kander-Ebb-Fosse musical. Much of the humor is lost in translation, especially in the “Roxy’ and “Six Merry Murderesses” numbers. Still, it features bold performances by leads Eliza Sodró, Nóra Parti, and Balázs Mihályfi. Also, the provocative ending may just be worth the 3-hour running time. <strong>November 20, 21</strong></p>
<p><strong><em>Sehova kapuja</em></strong> [Gate to Nowhere] This early play by Béla Pintér deals with the misguided evangelists of a religious cult who journey deep into the countryside to make converts. Fanaticism, alcoholism, folk dancing, drug use, and repressed sexuality are all unpacked. A journey to nowhere, perhaps, but undeniably unique. <strong>November 28, 29, 30</strong></p>
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<h2><strong>Budapest</strong><strong> Bábszínház (Puppet Theatre)</strong></h2>
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<p><strong><em>Semmi</em></strong> [Nothing] Climb four flights of stairs to the Lili Ország Studio and try to get a seat in the front row on the left side for this puppet show adaptation of the nihilistic Danish young adult novel by Janne Teller. When 7th-grade Pierre becomes a malcontent, his classmates sacrifice their favorite things to demonstrate what is good about life. (This part is rather predictable.) Then comes a second round and – whoa, how morbid will they go?! As the characters make their ultimate sacrifices, they put away their puppets (childhood selves) and continue to perform as adults. There are still some twists in store, and it is all punctuated by good rock numbers performed by the cast. An entertaining show! <strong>November 29, 30</strong></p>
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<h2><strong>Belvárosi Színház (Downtown Theater)</strong></h2>
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<p><strong><em>Nóra II. rész </em></strong>[A Doll’s House, Part Two] While the idea behind Lucas Hnath's 2017 play is not entirely original – after all, Elfriede Jelinek did it first – this sequel, set 20 years after the revolutionary door-slam in <em>A Doll’s House</em>, manages to be compelling, though independent of Ibsen’s groundbreaking work. These are interesting, articulate characters in a strange situation with intriguing reactions and thoughts to share. Isn’t that what theatre is all about? It also features a very strong cast overall. <strong>November 4, 22</strong></p>
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<h2><strong>Budapest Operetta Theater</strong></h2>
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<p><strong><em>A víg özvegy</em></strong> [The Merry Widow] This undisputed classic of operettas by Ferenc Lehár is not the lightest example of the genre. There is more plot and dialogue here than usual. Still, romantic leads Barbara Bordás and Attila Dolhai really sell the material, although the latter is sometimes weak on his high notes. Over-produced at times (like the drunken number that Dolhai performs with a chorus line of tipsy dance doubles), it nevertheless captures the blithe absurdity of this fun piece. <strong>November 17, 18</strong></p>
<p><strong><em>A chicagói hercengő</em></strong> [Duchess of Chicago] This “lost” operetta by titan Imre Kálmán is a delightful piece of light entertainment with a paper-thin plot, catchy tunes, and lots of eye-catching costumes. The producers turn the romantic tale into a fable about cultural assimilation, complete with a happy ending. Perfect for a family outing or a treat for older relatives! <strong>November 23, 24</strong></p>
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<h2><strong>Centrál Színház (Central Theater)</strong></h2>
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<p><strong><em>Delila </em></strong>[Delilah] The star-studded cast delivers a pitch-perfect rendition of this rarely seen piece by comic master Ferenc Molnár, but the material, in which a clever wife saves her husband from a greedy young temptress, is quite dated and corny. Recommended for those who want a trip back in theatre time. <strong>November 5, 10, 19, 22, 24</strong></p>
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<h2><strong>Hatszin Teátrum </strong></h2>
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<p><strong><em>Varsói melódia </em></strong>[Warsaw Melody] In this two-character piece, Kátya Tompos and Bálint Adorjáni are very attractive as the Polish-Russian couple less crossed by fate than inconvenienced by bad timing. Nevertheless, they lack the characterization to bring these sketchy scenes, spanning two decades, to life. <strong>November 1 4</strong></p>
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<h2><strong>József Attila Színház (Attila József Theater)</strong></h2>
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<p><strong><em>Az Üvegcipő </em></strong>[The Glass Slipper] This traditional staging provides a perfect opportunity to discover Ferenc Molnár’s Cinderella tale in the Józsefváros district. The production captures the 1920s boarding-house milieu quite well, but its model is clearly the legendary production of 1962, which featured Gábor Agárdi and Edit Domján. In this version, Dóra Létay is more than capable as the cool-headed landlady Adél. Károly Nemcsák, with his slow, bear-like physicality, makes the role of Sipos, the bourgeois middle-aged carpenter, his own. Réka Thália-Fekete is appealing as the love-struck serving maid Irma, but her devotion to Sipos plays like an older man’s fantasy, too good to be true. <strong>November 16, 23</strong></p>
<p><strong><em>Sóska, sültkrumpli</em></strong> [Sorrel with Chips] This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) <strong>November 28</strong></p>
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<h2><strong>Jurányi Inkubátorház (Jurányi Incubator House)</strong></h2>
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<p><strong><em>Egyasszony</em></strong> [One Woman] It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. <strong>November 9, 28</strong></p>
<p><strong><em>Bebújós</em></strong> [Snuggle in] When the children’s games at nursery school take on a sexual nature, the parents start hysterically pointing fingers, and there are plenty of red herrings to keep the audience guessing. Nearly all the actors play one parent and their respective child, so it is clear how behavior and traits are passed along. Another good show by Andrea Pass! <strong>November 13</strong></p>
<p><strong><em>Menekülj okosan! </em></strong>[Flee Wisely] Like Lifeboat Group’s previous offering <em>Sociopoly</em>, this production combines elements of interactive theatre and board games in an effort to enlighten the audience about a particular issue – in this case, the refugee crisis. We sit in a classroom on four sides of the acting space and represent a community of villagers who must flee Hungary on account of some unnamed disaster. The game gets off to a slow start as we try to determine the rules and figure out how much of this is theatre, storytelling, and lecture. There are some kinks to work out, but plenty of thought-provoking material to discuss long after the performance. Strong command of Hungarian needed to play! <strong>November 13</strong></p>
<p><strong><em>Sociopoly</em></strong> Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. <strong>English version also available. </strong>A must-try! <strong>November 19, 29</strong></p>
<p><strong><em>A csemegepultos naplója</em></strong> [Deli Counter Diaries] The novel by Márton Gerlóczy receives a sterling stage adaptation courtesy of dramaturge Ildikó Lőkös, razor-sharp direction by Pál Göttinger, and a spirited performance by András Ötvös. At 80 minutes, it does not strain one’s patience, and even if you don’t understand much of the text, Mr. Ötvös’s presence is riveting. <strong>November 21, 30</strong></p>
<p><strong><em>A Pitbull Cselekedetei</em></strong> [Acts of the Pit Bull] The play itself by Péter Kárpáti is something of a metaphysical adventure, which begins with a modest Budapest couple’s moral dilemma, then breaks the fourth wall, before bending the laws of time and space. The production is remarkable for its top-notch cast: Angela Stefanovics, Zola Szabó, Natasa Stork, Zsuzsa Lőrincz, and the appropriately superhuman Zsolt Nagy. <strong>November 26</strong></p>
<p><strong><em>Napraforgó</em></strong> [Sunflower] Andrea Pass’s finely observed family drama slips in under the radar, but the audience is soon party to her characters’ innermost feelings, culminating in complicated conflicts, Chekhovian silences, and emotional catharsis. Highly recommended! <strong>November 29</strong></p>
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<h2><strong>Karinthy Színház (Karinthy Theater)</strong></h2>
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<p>Theatre at the Karinthy is definitely a retro experience. The venue is small, and it can get crowded when the numerous grumpy pensioners jostle for positions in the coat check line. The décor and buffet whisk one back to pre-Capitalist days. The auditorium is charming, but may be due for renovations soon.</p>
<p><strong><em>Klotild néni</em></strong> [Aunt Klotild] Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. <strong>November 5</strong></p>
<p><strong><em>Degeneráció</em></strong> [D-Generation] This simple, yet disarming slice-of-life comedy concerns the social and romantic lives of a bunch of partying college students in Budapest. Devoid of deep meaning, it still manages to be light years better than the prime-time television show <em>Ejjel Nappal Budapest</em>, carrying the subversive message that sometimes lack of communication saves relationships. <strong>November 18</strong></p>
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<h2><strong>Katona József Színház (József Katona Theater)</strong></h2>
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<p><strong><em>A két Korea újraeyesítése</em></strong> [Reunion of the Two Koreas] This love-it-or-loathe-it offering from the celebrated Katona József Theatre showcases its excellent company of actors in Joël Pommerat’s roughly 20 unrelated and underdeveloped scenes about rotten relationships. Some consider it a triumph of good acting over poor material. In my opinion, however, the vomitous script cannot be redeemed. <strong>November 2, 16</strong></p>
<p><strong><em>A bajnok</em></strong> [The Champion] Whether or not you are aware of the sex scandal upon which it was based, this Béla Pintér work is a fascinating and effective adaptation of Puccini’s one-act opera <em>Il tabarro</em>, with the political elite of a small Hungarian town standing in for the dock workers of the original. A daring and mostly stellar cast sings its way through the updated libretto about politics, sexuality, and parental responsibility. <strong>November 3, 4, 9, 17</strong></p>
<p><strong><em>Bihari </em></strong><em> </em>This biographical drama about an intellectual blackmailed into becoming a spy under the Communist regime on account of his homosexuality is not well executed. There are too many pointless conversations and go-nowhere scenes. Despite a committed cast, it is difficult to understand the exact repercussions of the anti-hero’s actions. By the end, he is reduced to a quivering mass of self-loathing. “I’m a shit,” he says. Agreed. (basement space) <strong>November 4, 9</strong></p>
<p><strong><em>Elnöknők </em></strong>[Leading Ladies] This absurd piece by Werner Schwab premiered in 1996 and survives to this day thanks to sublimely grotesque performances by Judit Pogány, Ági Szirtes, and Eszter Csakányi. The piece itself, however, is little more than an ad hoc collection of shocking bits and set pieces. (studio space) <strong>November 5, 30</strong></p>
<p><em><strong>Ascher Tamás Háromszéken</strong></em> [Tamás Ascher in Háromszék] Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in <em>A bajnok. </em>Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös, but with so many themes – meta-theatre, Chekhov adaptations (<em>Three Sisters </em>and, if you are paying attention, <em>The Seagull</em>), backstage drama, folk song paraphrases, alcoholism, sexual harassment, reproductive rights, male irresponsibility, irredentism, and urban snobbism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. <strong>November 6, 7, 18</strong></p>
<p><em><strong>Széljegy </strong></em>[Marginal Note] Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) <strong>November 12, 24, 25, 26</strong></p>
<p><strong><em>Nóra – karácsony Helmeréknél</em></strong> [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s <em>A Doll’s House </em>is faithful to the spirit of the original, and with such talented actors, there are moments that resonate like never before. Ultimately, though, all the modernization threatens to render the original shock ending meaningless. Neither we nor the producers are really sure if Nora ever flees the gilded cage. <strong>November 13, 24, 25</strong></p>
<p><strong><em>Ürgék </em></strong>[Blokes] Mostly made up of Hungarian men’s stories from 1956 to the present, this production (assembled by Réka Pelsőczy and Tamara Török) offers little insight. The older generation is represented by László Szacsvay, János Bán, and Dénes Ujlaki (the latter’s delivery becoming somewhat predictable by the end). The younger generation, which feels less comfortable in the masculine roles they have inherited, is embodied by Bence Tasnédi and Zsolt Dér. Still, the tales are mostly superficial and materialistic. Male roles, in general, are never questioned or challenged. Rather, the older generation offers a lesson in calmly accepting the status quo. Anna Pálmai and Hanna Pálos are on hand to add decoration and contrast. After all, there are no men without women. <strong>November 15, 16, 20, 21</strong></p>
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<h2><strong>Kolibri Színház (Kolibri Theater)</strong></h2>
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<p><strong><em>Locspocs </em></strong><em> </em>Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. <strong>November 12</strong></p>
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<h2><strong>Magyar Színház (Hungarian Theater)</strong></h2>
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<p><strong><em>III. Richárd </em></strong>[Richard III] For the first half, famed Romanian director Andrei Şerban, who is keen on turning up the house lights and implicating the audience in the story, shows us why he is a master of modern direction. He makes the most of the smallest details, his color scheme is a bold contrast of black and yellow, and he practically scores his dialogue with sound effects, cued to the actors’ lines and stage business. It can be a challenging medium for the performers, however, who must somehow imbue these figures with life. Róbert Alföldi (who is plagued by more tics and insecurities than most Richards) succeeds, as does András Pál (as Buckingham). József Kelemen as Hastings has stunning blue eyes, but relies too much on tired bits. Zsolt László is arresting as the dethroned Queen Margaret, Zoltán Schneider is hilarious as a spokesman riffing his way through the extended coronation scene, and Adél Kováts flies under the radar as Elizabeth to delivers a concluding speech that is haunting in its restraint. Still, the play suffers when we lose sight of the human drama, which is often drowned out by distracting light and sound effects in the bombastic second act. <em>Guest performance of the Radnóti Theatre. </em><strong>November 12, 13</strong></p>
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<h2><strong>Mozsár Műhely (Mozsár Workshop)</strong></h2>
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<p><strong><em>Szomjás férfiak isznak helyettem</em></strong> [Thirsty Men Drink Instead of Me] This lively cabaret featuring four distinctive actresses (directed by actor Zsolt Mathé of the Örkény Company) attempts to crystallize the experiences of contemporary Hungarian women. Along the way there are some pearls of comedy, but not enough dramaturgical string to hold it together. <strong>November 4</strong></p>
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<h2><strong>MU Színház (MU Theater)</strong></h2>
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<p><strong><em>Grace </em></strong><em> </em>My favorite performance by the Hodworks dance company, <em>Grace </em>is a seemingly random series of dance numbers and sketches (some delivered in English). Never boring, often puzzling, and frequently provocative. Be prepared for sexual content and plenty of glitter. <strong>November 28</strong></p>
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<h2><strong>Nemzeti Színház (National Theater)</strong></h2>
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<p><strong><em>Szentivánéji álom</em></strong> [Midsummer Night’s Dream] This re-imagining of Shakespeare’s comedy may have you scratching your head. The first shock is the master-slave relationship between Theseus and Hippolyta (played by Lajos Ottó Horváth and Eszter Nagy-Kálózy). Their relationship is inverted, somewhat, when he, doubling as the lowly Bottom, is transformed into an ass (as in donkey) and copulates with her bewitched fairy queen Titania. Meanwhile, the stage machinery moves constantly, the insistent soundtrack blares, and puzzling set pieces appear onstage. What is a piano doing in the forest? Most odd of all is the depressing conclusion where everyone appears to be miserable. Credit goes to Kamilla Fátyol for her enchanting turn as Hermia. <strong>November 11</strong></p>
<p><strong><em>Csíksomlyói passió</em></strong> [Passion of Christ from Csíksomlyó] The 18<sup>th</sup>-century Hungarian re-interpretation of the Biblical story seems made for the National, but then there is a confusing clash of styles. Director Attila Vidnyánszky erects an alternate seating area to bring the spectators closer to the action. A live ensemble transports us to a small village square where the Passion of Christ will be performed. Then, the loud canned music and bombastic special effects begin, together with repetitive stage gestures that make it seem like a three-hour movie trailer. Nándor Berettyán brings a peculiar cluelessness to the role of the Messiah, as though the other villagers pushed him onto the scene as a last-minute substitute. Meanwhile, narrator and raconteur András Berecz strives mightily to bridge the gap between the professional actors and the folk dancers who embody the villagers and the <em>vox populi</em>, but this is a production divided against itself. <strong>November 13, 14</strong></p>
<p><strong><em>Az ember tragédiája</em></strong> [The Tragedy of Man] If you are tempted to see this juggernaut of Hungarian literature, keep in mind that it is four hours and staged in the round. The best seats are onstage, alongside of the acting area. Vidnyánszky is not only determined to give us a believer’s “family-focused” take on the sprawling classic, but also to extend his experimentation in immersive theatre – suspending the conventions of time, space, and now character. Previous outings in this format have proven difficult to hear, so important lines are shouted four times by different actors. Expelled from the Garden of Eden, Adam follows Lucifer (played by five actors) through various eras in Mankind’s history and beyond. Sándor Berettyán plays most of Adam’s incarnations, but endows them with very little personality. Eszter Ács has a lighter load and is more than capable of playing all the Eves. Auguszta Tóth and Mari Nagy harness the most stage presence, while Ádám Schnell and Tibor Fehér swish it up (at least on the night I saw it). The resulting spectacle is worth a look, but ill suited to bring out the emotional and philosophical complexities of the work. <strong>November 18, 19, 20, 21</strong></p>
<p><strong><em>Shakespeare Összes Rövidítve (SÖR)</em></strong> [The Complete Works of Shakespeare] This crowd-pleaser premiered in New York around 2000, then turned up in Budapest shortly afterwards. It has been packing audiences in for some 15 years now thanks to the contagious antics of the three-member Madhouse troupe, delivering a delightful, and ultimately respectful, romp through classic literature. <strong>In English! </strong>(workshop space) <strong>November 24, 25</strong></p>
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<h2><strong>Örkény István Theatre (István Örkény Theater)</strong></h2>
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<p><strong><em>Tótek</em></strong> [The Toth Family] This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie <em>Isten hozta, őrnagy úr </em>with Zoltán Latinovics. <strong>November 3, 15</strong></p>
<p><strong><em>Az üvegbúra</em></strong> [The Bell Jar] Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) <strong>November 3, 15, 26</strong></p>
<p><strong><em>Macskajáték</em></strong> [Cat’s Game] For her staging of Örkény István’s popular play, Ildikó Gáspár goes back to the original novel. This love triangle among 60-somethings, charting the decline in the fortunes of two sisters from a well-to-do family, is well told. The Kádár-era milieu is captured with impeccably chosen costumes and props, and Éva Kerekes is a revelation as the mousey neighbor Egerke. That said, the staging can be static, and the lengthy monologues in the second half are not easy to follow without some knowledge of Hungarian. <strong>November 4</strong></p>
<p><strong><em>Diggerdrájver</em></strong> [Digger Driver] Pulled from an actual blog, the modern-day experiences of a blue-collar worker who leaves Hungary with his second wife and son for the promise of a better life in London could not be more topical. The nearly two hours of material is delivered in a monologue with disarming credibility by the talented actor Attila Epres. Foreigners may be puzzled, though, by the morose mood at the end. From our point of view, this is a success story. What is there to cry about? (studio space) <strong>November 4, 14, 25</strong></p>
<p><strong><em>A hattyú </em></strong>[The Swan] The set suggests decadence; the costumes some unintelligible tradition which the characters feel compelled to follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the <em>bitter </em>in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. <strong>November 7, 19, 27</strong></p>
<p><strong><em>József és a testvérei</em></strong> [Joseph and his Brothers] Dramaturge Ildikó Gáspár and director Tamás Ascher go in search of the Great Narrative, staging Thomas Mann’s 1,500-page novel, which covers Chapters 27-50 of Genesis. With slightly less than 20 actors playing the numerous roles, you will find yourself consulting the family tree in the program again and again during the nearly five-hour running time. Given the bare-bones set, we get the impression of a low-budget, lengthy Sunday school pageant with too few, albeit uncommonly talented, performers. <strong>November 10, 30</strong></p>
<p><strong><em>Az átváltozás </em></strong>[The Metamorphosis] Like the monolithic panopticon that dominates the set for the first half, this adaptation of a selection of Kafka short stories is rather impenetrable. Gregor Samsa’s transformation is barely glimpsed behind a pop-out window, and then the actor (Csaba Polgár) remains unaffected, although multiplied by an onstage chorus. Is his new bug-like nature only a figment of his imagination? Meanwhile, we never really get to know his family members. There are some moving moments, but possibly only because they reminded me how I felt when I read these stories originally. Eszter Csakányi wields a puppet version of herself, perhaps hinting at the theme of doubled or disturbed identity, but then it is inadequately developed, like much of this show. <strong>November 11</strong></p>
<p><strong><em>Pedig én jó anya voltam</em></strong> [But I Was a Good Mother] A dual homicide in 1979 provides the basis for this monodrama, adapted from István Vajda’s interview with the mother of the murderer, the last criminal to receive the death penalty in Hungary. Judit Pogány gives one of the most shattering performances in the city, if your nerves and language skills are up to the challenge. We begin with a portrait of an utterly ordinary woman and hear her sorrowful tale, before a perception shift at the end pulls the emotional rug out from under us. (studio space) <strong>November 11</strong></p>
<p><strong><em>Anyám tyúkja (1.)</em></strong> [Mother’s Hen, Part 1] Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. <strong>November 13, 29</strong></p>
<p><strong><em>Hamlet</em></strong><em> </em>Traditionalists beware! The immortal play is treated very irreverently here, more like a comedy with some raucous (though agonized) clowning by Csaba Polgár in the lead role. The central concept of staging the play in a football stadium, with soccer hooligans standing in for the common rabble, works well, revealing clearly what director László Bagossy wishes to convey with this play. Politics is a sideshow. Entertain us. <strong>November 14, 22</strong></p>
<p><strong><em>Azt meséld el, Pista</em></strong> [Tell That One, Stevie] For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. <strong>November 18</strong></p>
<p><strong><em>Az ügynök halála</em></strong> [Death of a Salesman] True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. <strong>November 21</strong></p>
<p><strong><em>Anyám tyúkja (2.)</em></strong> [Mother’s Hen, Part 2] With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. <strong>November 24</strong></p>
<p><strong><em>I. Henrik I-II.</em></strong> [Henry IV, Parts 1 and 2] An intelligent précis of this problematic and sprawling history play by Shakespeare. No one turns out to be a hero, and with the actors constantly doubling, it sometimes seems as if the lower class is masquerading as the nobles (or vice versa). It is best to go in knowing the play, since the staging is quite minimal. <strong>November 25</strong></p>
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<h2><strong>Pesti Színház (Pesti Theater)</strong></h2>
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<p><strong><em>Biborsziget </em></strong>[The Purple Island] Mihail Bulgakov’s little-seen backstage farce depicts a mammoth theater’s last desperate struggles for survival, staging on a zero budget a brand new spectacle, fresh from the pen of an ambitious young writer. But – oh, no – here comes the State Censor! Although actor-cum-director Géza D. Hegedűs brings out a mere fraction of the potential comedy in this multi-layered opus, which threatens to burst the boundaries of the small Pesti stage, he clearly understands its humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island! <strong>November 10, 12, 23</strong></p>
<p><strong><em>A testőr</em></strong> [The Guardsman] Enikó Esenyi and András Stohl inject plenty of energy and star power into this comic gem by Ferenc Molnár, and while the arc of some scenes may get lost, they pack in the laughs. They play is modernized, particularly with regard to the costumes and the acting couple’s spacious flat, although some of the references remain dated. András Kern proves to be a great straight man, feeding the co-stars their cue lines like a pro. The only disappointment is Erzsébet Kútvölgyi, who fails to be funny as the obnoxious mother-in-law. Overall, a good show. <strong>November 13, 29</strong></p>
<p><strong><em>Toldi </em></strong><em> </em>This production must be a godsend for Hungarian students, who are required to read János Arany’s epic heroic poem. Here Gábor Csőre recounts it all in a very appealing and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. <strong>November 17, 22</strong></p>
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<h2><strong>Radnóti Színház (Radnóti Theater)</strong></h2>
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<p><strong><em>Üvegfigurák </em></strong>[Glass Menagerie] This production helmed by Péter Valló loses much of the poetry of the original, but mines uncommon sources of humor, which serves as an antidote to the cloying sentimentality that often hangs over this play. Jenny Horváth’s set captures the opacity / transparency that Tennessee Williams called for, but then Ádám Porogi (as Tom) must constantly slide the walls into position. And watch the stereotypes at the beginning: Jack Daniel’s, Lucky Strikes, and country music! How American can we get? Like the music choices, the outcome is mixed. Rozi Lovas’s reactions and handicap are too exaggerated in the first half, but she shines in her scene with Daniel Viktor Nagy, who is excellent as the gentleman caller. By using a device from <em>Cat on a Hot Tin Roof</em>, Tom must grow increasingly drunk as he narrates, only to sober up suddenly for his final weepy speech. Adél Kováts creates a very clear character for Amanda, but comes off as a verbal tyrant who will not let anyone else speak. There are fine elements in this production. With more time and experience, the performers might strike the right balance. <strong>November 18, 23</strong></p>
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<h2><strong>Rózsavölgyi Szalon (Rose Valley Salon)</strong></h2>
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<p>Audience members, mostly older or upwardly-mobile, happily throw down 5,000 forints per ticket and then even more on pricey drinks and snacks for the patina of class in this venue on the upper floor of the Rózsavölgyi Music Store. This is buffet theatre, and not exactly edgy. Rather, the vibe is intimate and safe.</p>
<p><strong><em>Rosmersholm </em></strong>[Rosmer Manor] This staging of Ibsen’s masterpiece of political reform, stern morality, and wild romanticism is strictly by the book. Béla Fesztbaum and Annamária Láng get to showcase their unique chemistry (last brilliantly on display as kissing cousins in Vígszínház’s production of <em>August: Osage County </em>from 2009) with solid support from József Gabronka, Vince Zrinyi-Gál, and Andor Lukáts. (I’ve missed you, Andor!) Still, Béla seems overstretched as both star and director. The production lacks a visual character, and a model of the house (tossed in just before the last act) is sadly un-integrated. Alas, Erzsébet Kútvölgyi badly fumbles the genre-bending ending, which has the potential of transforming the melodrama into an eerie ghost story. <strong>November 4, 8</strong></p>
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<h2><strong>RS9 Színház (RS9 Theater)</strong></h2>
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<p>Budapest’s nitty-gritty home for fringe and independent theatre is right in the center of town, either in the basement space (with accompanying bar) at 9 Rumbach Sebestyén Street or in the Vállai Kert space (named after the late actor Péter Vállai) just across the road.</p>
<p><strong><em>Tizennegyes kórterem</em></strong> [Hospital Room 11] A very promising play written by newcomer Tamás Tóth tackles the familiar trope of the mental patient who has an enlightening and potentially dangerous effect on his fellow inmates. Seemingly set in modern times and in a French asylum, the show benefits from committed performances by László Kassai (as the head psychiatrist) and Gábor Jaszberényi (as the young man who believes he is St. Martin). <strong>November 5, 25</strong></p>
<p><strong><em>Folyóügy</em></strong> [Case in Progress] A clever set and lively stage movement brighten up Braun Barna’s cabaret-like vignettes of Hungarian reality. There are plenty of laughs of recognition, not a terrible amount of depth, and at least one troubling stereotype. Stand-outs in the cast are Katalin Merai and Gábor Jaszberényi. <strong>November 6, 16</strong></p>
<p><strong><em>De mi lett a nővel?</em></strong> [But What Became of the Woman?] Much in the style of <em>Complete Works of Shakespeare (Abridged)</em>, the three Hungarian actors romp their way through nine interlocking short stories by Chekhov. Their spirit is infectious, and they capture the master’s bizarre sense of humor, often balanced on the razor’s edge of tragedy. Initially, they explore characters too self-centered to recognize other people’s pain, before evoking the legendary actress referred to in the title, an elusive and ultimately unattainable object of desire. <strong>November 18</strong></p>
<p><strong><em>Többszörös orgazmus</em></strong> [Multiple Orgasms] In this long-standing crowd-pleaser by the Anarchista Company, director Ferenc Sebő, Jr., takes an instructional guidebook to the world of sexual swingers and develops a series of wild sketches with his fine ensemble of very game actors. You may not approve of the lifestyle on display or buy into the swinger philosophy, but you are guaranteed some hearty belly laughs. <strong>November 24</strong></p>
<p><strong><em>Woyzeck</em></strong><em> </em>The Anyaszínház Company makes some bold moves with Büchner’s chilling, disturbing, unfinished classic, and part of the thrill is watching how many of their gambles pay off. The eye-popping direction makes up for some of the flat acting. <strong>November 29, 30</strong></p>
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<h2><strong>Spirit Színház (Spirit Theater)</strong></h2>
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<p>When you enter Spirit Színház (near Elvis Presley Park just north of Margaret Bridge on the Buda side), you are confronted with an aquarium, then a long hall with a coat check, exposed brick, books for sale, a buffet, a confusing mix of decorations, and live piano music. Audience members line up well before they are allowed into the nondescript studio space upstairs, and with reason. There is practically no hope of a good view of the acting space if you sit anywhere behind the fourth row.</p>
<p><strong><em>Bernarda Alba háza</em></strong> [House of Bernarda Alba] This classic play about sexual repression by Frederico Garcia Lorca is sensational; yet, all the elements here – the set, costumes, staging, and characterizations – fall a bit below the mark, not quite capturing the claustrophobia, hysteria, and menace of the original. The sound effects are particularly ill-advised. That said, the performances are heartfelt, and story holds our attention for the duration (90 minutes without a break). Overall, it has the quality of an exceptionally good amateur performance – quite moving for the initiated, but none too revealing if you go in cold. <strong>November 23</strong></p>
<p><strong><em>A fizikusok</em></strong> [The Physicists] The key to Dürrenmatt’s classic mind-bending play is the name of the main character, Dr. Möbius, an inmate of a mental institution where a series of nurses are killed. The Möbius strip is three-dimensional, but has only one side. Thus, the three inmates in this piece may all be insane or may all be brilliant physicists. Both stories are possible at the same time. The actors who understand the game stand out from the pack. They include Andrea Sztárek, Ági Gubik, and Kálmán Varju. The others are simply occupying space. This is salient in the case of János Perjés, who does little more than recite lines as Dr. Möbius. He has starring roles in several of the shows at Spirit Színház, which is beginning to resemble a vanity venue. <strong>November 24</strong></p>
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<h2><strong>Stúdió K (Studio K)</strong></h2>
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<p><strong><em>A rettentő görög hős</em></strong> [The Fearsome Greek Hero] Stúdió K has a long tradition of brilliant puppet shows for children, and this rendering of the exploits of Theseus is certainly one of them. It is a great introduction to these tales from Greek mythology, and young theatergoers relish the scenes of stylized violence. <strong>November 10</strong></p>
<p><strong><em>Babaház (Nóra)</em></strong> [A Doll’s House] In this reductive rendition of Ibsen’s revolutionary play, all the characters are dolls, arranged onstage by a mute fellow with a swollen, brainy noggin. (I assume he stands for Ibsen.) Zsuzsanna Lukin, as a spinster with rolled-down stockings, narrates it all, further placing the text in quotation marks. Then, more commentary is added by a deranged young woman, possibly a rape victim, who delivers blasphemous and obscene speeches. Júlia Nyakó (as Nora) and Gábor Nagypál (as Dr. Rank) are able to convey some emotion despite these restrictions. Katalin Homonnai (as Kristine) and Noémi Tóth (as the teary maid) manage to be decorative. György Sipos (as a literally spineless Krogstad) is too comic to be an effective antagonist. In spite of some gorgeous stage pictures, it is all inadequately lit by an annoying, abstract, animated projection. This is a perfect example of the art of the bluff, courtesy of director András Jeles. <strong>November 22</strong></p>
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<h2><strong>Szkéné Színház (Szkéné Theater)</strong></h2>
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<p><strong><em>A nagy füzet</em></strong> [The Notebook] Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War Two-era novel is remarkably stimulating with a hypnotic final tableau. Just be familiar with the story beforehand. The actors deliver chunks of prose at top speed. <strong>November 2</strong></p>
<p><em><strong>42. </strong><b>hét</b></em> [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended! <strong>November 10</strong></p>
<p><strong><em>Bányavíz</em></strong> [Mine Water] The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible. <strong>November 12</strong></p>
<p><strong><em>A Sütemények Királynője</em></strong> [The Queen of Cakes] Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. <strong>November 19, 20, 21, 22</strong></p>
<p><strong><em>Parasztopera</em></strong> [Peasant Opera] Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see! <strong>November 24, 25</strong></p>
<p><em><strong>I. Erzsébet</strong></em> [Elizabeth I] Modern English playwright Paul Foster revisits the history books and gives us a burlesque-style romp, providing some delightful off-the-wall sketches, but also some troubling stereotypes and a heavy-handed conclusion (warning us of the evils and potential resurgence of Fascism). Although he was acclaimed for his lead role in drag, I found Tamás Fodor’s performance overrated. Far more entertaining were Péter Bercsényi (as Mary Queen of Scots) and Gergő Kaszás (as Catherine de Medici). <strong>November 27</strong></p>
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<h2><strong>Trafó House of Contemporary Arts</strong></h2>
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<p><strong><em>Az időnk roved törtenete</em></strong> [A Brief History of Our Time] Get a seat near the front in order to appreciate the fine puppetry as four elderly strangers embark on an odyssey to dispose of their mutual friend’s ashes. A touching show, but despite the puppets, not recommended for children! <strong>November 18</strong></p>
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<h2><strong>Újszínház (New Theater)</strong></h2>
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<p><strong><em>Bizánc </em></strong>[Byzantium] The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see <em>Bizánc </em>would be out of academic interest. <strong>November 4, 11</strong></p>
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<h2><strong>Vígszínház (Comedy Theater)</strong></h2>
<p> </p>
<p><strong><em>Játék a kastélyban</em></strong> [The Play’s the Thing] This classic meta-theatre exercise by Ferenc Molnár is a gem, but by all means, avoid the current production in which the uneven cast tends to fumble the comedy. The leading role of Turai, the mastermind playwright, can be a tour de force for an actor, but Miklós Benedek mostly mumbles his way through it. <strong>November 2, 11</strong></p>
<p><strong><em>A dictator </em></strong>[The Dictator] Adapting Charlie Chaplin’s classic film may seem like a foolhardy undertaking, but for most of the first half, Enikő Eszenyi gets it right. The World War I portion is dynamite with a fantastic flying plane sequence. Nonetheless, despite several good performances (by József Wunderlich, Csenge Szilágyi, Dániel Király, and Szonja Rudolf), the second half loses steam with too many gags that do not translate well to the stage. Instead of making a point with the conclusion, the production leaves us hanging with no resolution, Central European-style. <strong>November 3, 7, 10, 12, 22, 23</strong></p>
<p><strong><em>Hamlet</em></strong> For the first time in its long history, Vígszínház hosts the Danish prince and does so on a wondrous set that lifts, descends, rotates, lights up, shows videos, etc. Still, the dramaturgy gets a little wonky, starting off with a <em>dues ex machine</em> (the ghost’s appearance), but then not following through with it. (I could imagine Fortinbras appearing at the end in the same fashion, but certainly not Laertes.) Attila Vidnyánszky, Jr., brings astounding energy and physicality to his battle with this unwieldy text, but he seems to be abusing his vocal chords for the last two hours. In the second half, there is a purifying pool of water, where Hamlet and Gertrude (Enikő Börcsök) share an incestuous kiss, and where King Claudius (Géza D. Hegedűs) and Ophelia (Nóra Réti) take separate nude dips (the former flamboyantly, the latter bashfully). All in all, the message is difficult to discern. Who is this Hamlet who impersonates his mother in drag before the whole court, and who has much more chemistry with the Player King (Károly Hajduk) than with Ophelia? He begins to resemble Helmut Berger’s character from the Visconti film <em>The Damned. </em>On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. <strong>November 9, 30</strong></p>
<p><strong><em>A Pál utcai fiúk </em></strong>[The Paul Street Boys] It is hard to get tickets for the 2016 musical adaptation of Ferenc Molnár’s classic children’s novel, which is a lighthearted take on a two rival gangs and their battle for possession of a splendid lot, and no wonder! The cast is spirited, the direction is sharp, and the music is catchy without being disturbingly thin (which is the case for most modern musicals). The climactic stand-off is staged very symbolically before the tear-jerking finish: the martyrdom of Ernest Nemecsek for what proves to be a meaningless cause. Depressing allegory? Perhaps, but integral to the Hungarian psyche. <strong>November 13, 14, 17, 28, 29</strong></p>
<p><strong><em>Máglya </em></strong>[The Pyre] The best part of this stage adaptation of György Dragomán’s work is Olaf Altmann’s simple set, which is reminiscent of a snowy field, a children’s sandbox, and a topographical map – all at first sight. Yet, the direction by Armin Petras is clever without being brilliant. The appealing young actresses (Janka Kopek and Patricia Puzsa) are good without being great. The story of an orphaned girl adopted by her estranged grandmother in Transylvania, following the revolution in 1989, culminates in a scene of epic drama, but it is without catharsis. To borrow the title of a Béla Pintér play, the overall effect is <em>dazzling mediocre. </em>(studio space) <strong>November 13</strong></p>
<p><strong><em>Bűn és bűnhődés </em></strong>[Crime and Punishment] Director Michal Dočekal creates a unified look and a clever “crime scene” conceit for this intelligent précis of Dostoevsky’s classic novel, but practically no one in the talented cast can live up to the larger-then-life characters (possible exceptions being Zoltán Karácsonyi as Svidrigailov and Miklós H. Vecsei in his one-minute appearance as Mikolka). András Stohl evokes the Columbo side of committed police inspector Porfiry’s personality, but fails to bring out the character’s transcendent nature. Rather than soar to redemptive heights, this production remains earthbound. <strong>November 15</strong></p>
<p><strong><em>A Pentheszileia Program</em></strong><em> </em>A young college student in Kolozsvár (Cluj-Napoca) battles her demons and three generations of emotional baggage in this provocative new play, written and directed by Réka Kincses. The result is passionate, personal, and poetic, boasting an excellent performance by Csenge Szilágyi, who embodies this anti-heroine (a “man-eating” Amazon) with remarkable aplomb. The strong and highly committed supporting cast includes Zsuzsa Hullan (as the mother), Kati Lázár (as the grandmother and great-grandmother), and Gábor Hevér (as the amoral therapist). The language is challenging, but it rewards the undaunted. (studio space) <strong>November 15</strong></p>
<p><strong><em>A léggömb elrepül</em></strong> [The Balloon Flies Away] Promising a carefree bill of prose, poetry, and songs by beloved early 20th-century writer Dezső Kosztolányi, this one-man-show does not disappoint us. It may take a strong command of Hungarian to understand the text, but as Béla Festbaum sings and narrates his way through the material, you know you are in the hands of a pro. A thoroughly charming event! (studio space) <strong>November 18</strong></p>
<p> </p>
<p><em>See you at the theatre!</em></p>
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Budapest Theatre Digest
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https://theatredaemon.blog.hu/2018/11/04/talented_women_dramatists
TALENTED WOMEN DRAMATISTS
2018-11-04T07:01:00+01:00
2018-11-04T07:01:00+01:00
Patrick Mullowney
https://blog.hu/user/1314065
<p> </p>
<p><img src="https://kep.index.hu/1/0/1473/14735/147353/14735369_270918d12e9bdb0f5fa0811f77edf660_wm.jpg" alt="5E2C5987z" /></p>
<h2>My two favorite plays from the past two seasons were by female theatre artists directing their own work. What makes these shows successful?</h2>
<p> </p>
<p>A casual overview of Hungarian theatre is enough to establish that this is a male-dominated field. Repertory theatres in general have more male contract players, especially if they regularly stage classic works. Directors are overwhelmingly male (notable exceptions being Kriszta Székely and actresses-turned-directors like Enikő Eszenyi and Réka Pelsőczy), as are most of the playwrights.</p>
<p>That is why it is such a pleasure for me to announce that, of all the original plays I have seen in the past two seasons, my favorite two were written by women who also directed their own work: <em>Pentheszileia Program </em>by Réka Kincses and <em>Sunflower </em>by Andrea Pass. But what makes these pieces so successful?</p>
<p><em>Pentheszileia </em>(named after the famed Amazon from Greek mythology) grabs our attention from the very start, at a clinic where the heroine is undergoing her nth abortion. When the anesthesia wears off, she quickly proceeds to hit on the young attending doctor. What sort of protagonist is this? What type of young woman behaves this way? He reveals to her that during the procedure, she repeated the words, “Forgive me.” Disturbed by this news, she turns to her psychologist, to find out who she was asking for forgiveness. Thus, the psychological yarn begins to unfold. </p>
<p>Fittingly for a play of this sort, the scenes flow in a seemingly stream-of-conscious manner. Some have criticized <em>Penthesileia </em>for being more of a screenplay than a theatre piece; yet, they cannot deny that the plot is language-driven. Also, there is a compelling theatricality in how the production, with its limited means, accomplishes the quick changes and metamorphoses.</p>
<p>Most obviously, there is effective doubling of actors. Kati Lázár plays the protagonist’s grandmother and great-grandmother. Even the protagonist steps into the role of her grandmother at a young age. This is staged clearly (through the use of a telling prop or costume piece), so the audience is not confused. Gábor Hever plays both the heroine’s father and her amoral psychologist who is sexually involved with his patient. This suggests that she is attracted to him as a father figure. In one bravura scene, her tryst with the passionate, though married poet (Daniél Nagy) is nearly spoiled by the nagging voice of her mother, played by Zsuzsa Hullán, who climbs over, around, and under the bed – perfectly embodying not just the character, but her daughter’s neuroses.</p>
<p>Last but not least, much of the play’s success is due to the assured performance of Csenge Szilágyi in the main role. She knows the character through and through. Like a fearless tour guide, she leads us along the dark corridors of the protagonist’s mind, instantly evoking a vast array of times, places, and emotions.</p>
<p>On account of its specific details (namely, the heroine’s Armenian origins), the piece seems highly autobiographical. Let us hope, then, that Réka Kincses can produce other successful plays, either by mining more interesting material from her life, or by experimenting in the future with imaginary characters.</p>
<p> </p>
<p> </p>
<p> <img src="http://www.revizoronline.com/write/images/napraforgo3.jpg" alt="A fotók forrása: Jurányi Inkubátorház" width="536" height="383" /></p>
<p><em>Sunflower </em>by Andrea Pass is a different specimen altogether. Strongly naturalistic and minimally staged, it also relies on clever use of space and subtle acting to transport us to the myriad of settings in this small-town Hungarian world. In this case, however, the author shows clear empathy and understanding for all of her characters.</p>
<p>Those who criticize the piece (again) for being a screenplay ignore two salient facts. First, most of our new material for the stage is filmic, because younger generations of storytellers tend to imagine in the cinematic medium. (Some older authors like Zavada and Esterházy tend to write prose pieces for the stage.) In short, most authors lack a theatre imagination. Second, these critics fail to see how dialogue drives <em>Sunflower. </em>What Andrea Pass accomplishes, in fact, would make most dramatists green with envy. The practically mundane conversations at the beginning roll by without exciting much attention until we realize, gradually, that she has painted an entire world with these exchanges. We soon find that we know this setting and her characters uncomfortably well.</p>
<p>As the play takes shape, it becomes clear that its focus is the mother-daughter relationship between Anikó and Janka (in the author’s words, her two heroines). Nowadays, it has become trendy to diagnose parents as narcissists, but that is exactly the dynamic at work. Janka cannot comprehend her mother’s mental difficulties and is often forced to be the responsible adult in their interactions. Eventually, she turns away from her mother, seeking out better sources for the love she craves. After Anikó’s first big breakdown, the wife and mother is pressured to reform her life, but she receives little to no support. Janka comes to realize her role her in mother’s deterioration. This recognition is a painful step in the process of growing up.</p>
<p>Ms. Pass is well served by her actors who thoroughly embody their characters and convey their relationships clearly. They add color to the scenes that Ms. Pass has sketched with a few deft strokes. Adult actors play the children, but thankfully without overdoing it. If I have one small criticism, it is that the main actors could be bolder in bringing out their characters’ negative traits. Kata Pető could make Anikó more unpleasant. After all, she is an unstable woman who is very difficult to live with. Károly Hajduk comes off as too perfect as the patient, understanding husband. He, too, has his own agenda and a very sneaky habit of hiding his selfish urges behind good intentions – not to mention his threats of sending Anikó back to the institution, which are far from understanding and quite cruel. Finally, Dóra Sztarenki could be more headstrong as Janka. This is a clever youngster who already knows how to fib in order to manipulate adults. The fact that she is a little bitch when her mother returns from the mental health facility does not make her less sympathetic; it makes her human, and it is key to understanding the play.</p>
<p>Andrea Pass worked for a period as production assistant to Béla Pintér, and she clearly picked up some of his directing techniques, such as the use of live music. Still, these methods are employed here for a different aim. Hers is not a theatre of shocking plots twists, but rather slow recognition. The shocking aspect is how deeply we come to know these characters, to the point where we feel capable of reading their minds. Thus, a scene of innocuous chit-chat near the end (between the father and the schoolteacher) swells to Chekhovian proportions with the volumes of unspoken material behind the lines.</p>
<p>All in all, these plays bode well for the future, as does the emergence of other female dramatists like Eszter Anna Szilágyi (whose <em>Nyíregyhaza Street </em>won the Dramaturge Guild’s award for best new play) and Rozi Székely (whose new play <em>Calvary Housing Estate </em>has premiered at Trafó). We need these fresh voices on the Hungarian stage, which has been dominated by men’s stories far too long.</p>
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