Budapest Theatre Digest

Here is your guide to the performance options in May 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. May 4, 5

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. May 14, 17

B32 Galéria (Gallery at 32 Béla Bartók Road)

Rebeka  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! May 12, 13

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! May 19

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. May 9

Budapest Operetta Theater

Luxemburg Grófja [The Count of Luxembourg]  Far less memorable than Lehár’s classic The Merry Widow, 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? May 3, 4

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. May 29, 30

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. May 11, 15, 22, 25

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.

Manon Lescaut  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. May 18, 21, 25, 28, 30

Tosca  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. May 19, 29

A Nyugat lánya [The Girl of the Golden West]  Don’t expect much Wild West in the Erkel’s new production. 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.) May 22, 24

Pillangókisasszony [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. May 23, 25

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. May 29, 30, 31

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. May 2, 29

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? May 6, 7, 8, 30

József Attila Színház (Attila József 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 by the Radnóti Theatre. May 6, 7

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) May 14, 28

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. May 2, 14

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. May 9, 23

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! May 10, 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. May 14

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.

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. May 3, 11

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. May 15

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. May 19

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. May 25

Katona József Színház (József Katona Theater)

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) May 1

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. May 2, 31

For a more detailed review, click here.

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) May 11, 29

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) May 22

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. May 24,25

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) May 24, 25, 29

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) May 26, 27

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. May 24, 25

MU Színház (MU Theater)

Szólók [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. May 2

Hűség [Loyalty]  Based on Robert Merle’s 1954 novel Death Is My Trade, 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. May 17

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. May 5, 6

Vitéz lélek [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. May 10

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. May 19, 20

For a related interview, click here.

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) May 20

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) May 24, 25

Örkény István Színház (István Örkény Theater)

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. May 4, 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. May 5, 15, 29

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. May 7, 21, 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) May 7, 22

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 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. May 8, 19, 24

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) May 8, 30

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. May 9

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. May 10, 27

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) May 10, 15, 29

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. May 12

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. May 16

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. May 18, 31

For a detailed review, click here.

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. May 22

IV. 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. May 25

For a detailed review, click here.

Pesti Színház (Pesti Theater)

Mikve  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 mikve 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. May 5

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. May 9, 18

For a detailed review, click here.

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 winning and entertaining fashion. Despite his abundant charm, however, the language remains unyieldingly old-fashioned and poetic – hence, very difficult to understand. May 14, 21, 24, 28

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 the humor and the message; so we can appreciate and savor this delightful, thought-provoking piece. Long live Purple Island!  May 23

John Gabriel Borkman  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. May 26

Pinceszínház (Cellar Theater)

A Herner Ferike faterja [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 Kid Géza, 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. May 6, 19

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. May 15, 30

10  Both thematically and structurally reminiscent of Krzystof Kieślowski’s Dekalog, 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. May 19, 20, 24, 31

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. May 16

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.

Egy doktorkisasszony napójegyzetei [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. May 3, 12

Végkép [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. May 9, 10

Trip  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. May 13

Egy perccel tovább [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. May 15, 25

Tizenegyes 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). May 22

De mi lett a nővel? [But What Became of the Woman?]  Much in the style of Complete Works of Shakespeare (Abridged), 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. May 22 

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. May 26

Szkéné Színház (Szkéné Theater)

Caligula helytartója [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. May 1

A soha vissza nem terő [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! May 7, 8, 9

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! May 16

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 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. May 17

A demon gyermekei [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. May 19, 20, 21, 22, 23

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). May 27

Tesla Teátrum (Tesla Theater)

Pisti a vérzivatarban [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 E fold befogad… [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. May 14

Trafó House of Contemporary Arts

Otthon [At Home] Under the direction of Tamás Ördög, the Dollár Papa Company strikes gold with their updated staging of Strindberg’s rarely seen drama The Pelican. 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? May 6

Kálvária lakópark [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. May 29

Turay Ida Színház (Ida Turay Theater)

A medve nem játék! [Bears Are No Game!]  Perhaps the only reason to see this show is if you wish to understand the góbé 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 kocsma, and the suffering wives toil all day long. Even the Playboy 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. May 30

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For a related interview, click here. 

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. May 18

Vígszínház (Comedy Theater)

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. May 1, 5, 14, 18

A diktátor [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. May 2, 9, 23, 24

A vándorkutya [Wander Dog]  Hovering on a scale of absurdity somewhere between The Bald Soprano and Who’s Afraid of Virginia Woolf?, 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) May 2, 23

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. May 7

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) May 14

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-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. May 17

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) May 17

For a detailed review, click here.

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. May 19

Liliom  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. May 21, 26

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 charmi