Budapest Theatre Digest

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.

Entries are arranged by theater or venue.

Átrium Színház (Atrium Theater)

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.

Titkaink [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! November 3, 4

Kaiser TV, Ungarn  Time travel and a mythical 19^th-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. November 11, 12

Tündöklő középszer [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. November 13, 14

Chicago  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. November 20, 21

Sehova kapuja [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. November 28, 29, 30

Budapest Bábszínház (Puppet Theatre)

Semmi [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! November 29, 30

Belvárosi Színház (Downtown Theater)

Nóra II. rész [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 A Doll’s House, 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. November 4, 22

Budapest Operetta Theater

A víg özvegy [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. November 17, 18

A chicagói hercengő [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! November 23, 24

Centrál Színház (Central Theater)

Delila [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. November 5, 10, 19, 22, 24

Hatszin Teátrum

Varsói melódia [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. November 1 4

József Attila Színház (Attila József Theater)

Az Üvegcipő [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. November 16, 23

Sóska, sültkrumpli [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) November 28

Jurányi Inkubátorház (Jurányi Incubator House)

Egyasszony [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. November 9, 28

Bebújós [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! November 13

Menekülj okosan! [Flee Wisely] Like Lifeboat Group’s previous offering Sociopoly, 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! November 13

Sociopoly  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. English version also available. A must-try! November 19, 29

A csemegepultos naplója [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. November 21, 30

A Pitbull Cselekedetei [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. November 26

Napraforgó [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! November 29

Karinthy Színház (Karinthy Theater)

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.

Klotild néni [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. November 5

Degeneráció [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 Ejjel Nappal Budapest, carrying the subversive message that sometimes lack of communication saves relationships. November 18

Katona József Színház (József Katona Theater)

A két Korea újraeyesítése [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. November 2, 16

A bajnok [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 Il tabarro, 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. November 3, 4, 9, 17

Bihari  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) November 4, 9

Elnöknők [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) November 5, 30

Ascher Tamás Háromszéken [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 A bajnok. 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 (Three Sisters and, if you are paying attention, The Seagull), 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. November 6, 7, 18

Széljegy [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) November 12, 24, 25, 26

Nóra – karácsony Helmeréknél [Nora – Christmas at the Helmers] Kriszta Székely’s direction of Ibsen’s A Doll’s House 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. November 13, 24, 25

Ürgék [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. November 15, 16, 20, 21

Kolibri Színház (Kolibri Theater)

Locspocs  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. November 12

Magyar Színház (Hungarian Theater)

III. Richárd [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. Guest performance of the Radnóti Theatre. November 12, 13

Mozsár Műhely (Mozsár Workshop)

Szomjás férfiak isznak helyettem [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. November 4

MU Színház (MU Theater)

Grace  My favorite performance by the Hodworks dance company, Grace 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. November 28

Nemzeti Színház (National Theater)

Szentivánéji álom [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. November 11

Csíksomlyói passió [Passion of Christ from Csíksomlyó]  The 18^th-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 vox populi, but this is a production divided against itself. November 13, 14

Az ember tragédiája [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. November 18, 19, 20, 21

Shakespeare Összes Rövidítve (SÖR) [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. In English! (workshop space) November 24, 25

Örkény István Theatre (István Örkény Theater)

Tótek [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 Isten hozta, őrnagy úr with Zoltán Latinovics. November 3, 15

Az üvegbúra [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) November 3, 15, 26

Macskajáték [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. November 4

Diggerdrájver [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) November 4, 14, 25

A hattyú [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 bitter in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. November 7, 19, 27

József és a testvérei [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. November 10, 30

Az átváltozás [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.  November 11

Pedig én jó anya voltam [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) November 11

Anyám tyúkja (1.) [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. November 13, 29

Hamlet  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. November 14, 22

Azt meséld el, Pista [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. November 18

Az ügynök halála [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. November 21

Anyám tyúkja (2.) [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. November 24

I. Henrik I-II. [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. November 25

Pesti Színház (Pesti Theater)

Biborsziget [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! November 10, 12, 23

A testőr [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. November 13, 29

Toldi  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. November 17, 22

Radnóti Színház (Radnóti Theater)

Üvegfigurák [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 Cat on a Hot Tin Roof, 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. November 18, 23

Rózsavölgyi Szalon (Rose Valley Salon)

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.

Rosmersholm [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 August: Osage County 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. November 4, 8

RS9 Színház (RS9 Theater)

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.

Tizennegyes kórterem [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). November 5, 25

Folyóügy [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. November 6, 16

De mi lett a nővel? [But What Became of the Woman?]  Much in the style of Complete Works of Shakespeare (Abridged), 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. November 18

Többszörös orgazmus [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. November 24

Woyzeck  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. November 29, 30

Spirit Színház (Spirit Theater)

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.

Bernarda Alba háza [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. November 23

A fizikusok [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. November 24

Stúdió K (Studio K)

A rettentő görög hős [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. November 10

Babaház (Nóra) [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. November 22

Szkéné Színház (Szkéné Theater)

A nagy füzet [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. November 2

42. hét [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! November 10

Bányavíz [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. November 12

A Sütemények Királynője [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. November 19, 20, 21, 22

Parasztopera [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! November 24, 25

I. Erzsébet [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). November 27

Trafó House of Contemporary Arts

Az időnk roved törtenete [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! November 18

Újszínház (New Theater)

Bizánc [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 Bizánc would be out of academic interest. November 4, 11

Vígszínház (Comedy Theater)

Játék a kastélyban [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. November 2, 11

A dictator [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. November 3, 7, 10, 12, 22, 23

Hamlet  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 dues ex machine (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 The Damned. On the plus side, Ákos Orosz gives us an emotionally credible Laertes, and the climactic swordfight is impressive. November 9, 30

A Pál utcai fiúk [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. November 13, 14, 17, 28, 29

Máglya [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 dazzling mediocre. (studio space) November 13

Bűn és bűnhődés [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. November 15

A Pentheszileia Program  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) November 15

A léggömb elrepül [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) November 18

See you at the theatre!