Budapest Theatre Digest

Here is your guide to the performance options in March 2019.

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.

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. March 2, 3

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 viewers’ nerves to the breaking point. Plus brilliant gender-bending performances by Eszter Csakányi and Angéla Stefanovics. Highly recommended! March 7, 8

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. March 23, 25

B32 Galéria (Gallery at 32 Béla Bartók Road)

Rebeka  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! March 2, 4

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. March 20

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 7^th-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! March 11, 13

Budapest Operetta Theater

Kékszakáll [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. March 5, 6, 7

For a detailed review, click here.

A kék madár [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. March 8, 9, 10, 11

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! March 30, 31

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. March 14, 21, 26

Erkel Színház (Erkel Theater)

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 (II.János Pál papa tér) or turn onto Luther Street from Rákóczi Avenue.

Gionconda [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? March 3, 6, 10

János Vitéz [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. March 9, 10, 16, 17, 30, 31

Bánk Bán [The Regent Bánk]  This stirring national opera is probably Ferenc Erkel’s best, based on the 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 his vision. March 14, 16, 21, 29

Fészek Klub (Nest Club)

Jubileumi Beszélgetések [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. March 11, 12, 13, 14, 22, 23

For a related article, click here.

Hatszín Teatrum

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. March 1, 3, 10, 21

Játékszín (Play Stage)

Menopauza [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? March7, 8, 22, 27

József Attila Színház (Attila József Theater)

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) March 17

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. March 23

 For a detailed review, click here.

Jurányi Inkubátorház (Jurányi Incubator House)

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. March 7, 26

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! March 8, 29

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. March 8, 21

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! March 18

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! March 20

For a detailed review, click here.

Árpádház [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. March 24

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. March 28

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.

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. March 10, 22

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. March 17

Az ördög [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 The Glass Slipper and The Guardsman), 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. March 19

Bunbury [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. March 20, 28

Katona József Színház (József Katona Theater)

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. 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) March 1, 29

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) March 15

Pali  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) March 17, 25

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. March 20, 21

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) March 23

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) March 28

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. March 27, 28

Nemzeti Színház (National Theater)

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. 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. March 7, 8, 30, 31

Éden földön [Eden on Earth]  The legend of Istók Hany is Hungary’s answer to L’enfant sauvage. 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. March 10

Othello  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) March 10, 17

Isten Ostora [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 The Passion of Christ from Csíksomlyó. 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. March 11, 12

For a detailed review, click here.

Vitéz lélek [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. March 19

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) March 23, 24

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. March 27

Ódry Színpad (Ódry Stage)

A Nyíregyháza utca [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 La Traviata 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. March 21

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. March 1, 27

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. March 2, 21

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) March 2, 21, 31

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. March 3, 19, 20, 29, 30

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) March 3, 20

Patika [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. March 4, 18

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. March 5, 26

For a detailed review, click here.

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. March 9

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. March 10, 16

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. March 13

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. March 22

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. March 23

For a detailed review, click here.

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) March 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. March 28

See more options in the second part of the March listings!