Budapest Theatre Digest

Theatre is getting back on its unsteady feet now that lockdown rules have been loosened – but for how long? This quick guide highlights plays currently in repertory, but it is by no means comprehensive. These are only my tips. Entries are arranged by theater or venue. Please check for exact times. 

Belvárosi Színház (Downtown Theater)

The business model for the Downtown Theater is commercial – proven hits or stage versions of well-known films and musicals featuring big name actors. If it is light entertainment you are seeking, this is a safe bet, but do not expect groundbreaking theatre. Current productions include Amy’s View, Cactus Flower, The Mousetrap, and Husbands and Wives – to name some familiar titles.

Budaörsi Latinovits Színház (Latinovits Theater in Budaörs)

This venue is easy to find, but just outside of town, so it requires an extra bus ticket. The interior is cramped, but charming and reminiscent of community centers from the 1990s.

Öröm és boldogsáa [Joy and Happiness]  This examination of the troubled lives of gay and lesbian individuals in Transylvania, penned by popular contemporary playwright Csaba Székely, was last seen in the capital as a guest performance from Marosvásárhely. This production directed by Róbert Alföldi is more polished and uses deliberate overacting, which may grate on one’s nerves at times, but it effectively brings out the play’s grotesque humor. Oct. 15, 22; Nov. 4, 22, 27

Rekviem egy álomért [Requiem for a Dream]  This production captures the almost unbearable atmosphere of Hugh Selby, Jr.’s work (including psychedelic effects to indicate drug use) and offers a grim view of consumer society’s idiocy. Overall, the acting is brilliant, especially Katalin Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. Oct. 3, 29; Nov. 6, 10, 20

Budapest Bábszínház (Puppet Theatre)

Gengszter nagyi [Gangster Grandma]  This adaptation of a British children’s show has been a long-running favorite, and it is easy to see why. After 11-year-old misfit Ben (Nobert Ács) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! Oct. 13, 14; Nov. 7

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! Oct. 21, 24

Budapest Operetta Theater

A Pendragon-legenda [The Pendragon Legend]  It is difficult to get a seat in the tiny and ornate Kálmán Imre Teátrum (entrance off the buffet), but if you are a fan of WTF theatre, this is a must-see. When adapting Antal Szerb’s mystical-comic-thriller-parody novel (available in English), creators Adrián Kovács and Attila Galambos tossed in some operetta confection, some darkly iconoclast musical numbers, and some Harry Potter (or is it Star Wars?) to create a mind-bending clash of styles. Still, the music is competent, and the performers are touchingly committed to this truly bonkers spectacle. If some aspects of the production seem cheap, just wait for the eye-popping Black Mass finale. All in all, it is an unbelievable experience. Oct. 13, 14, 15, 16

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. Nov. 4

Eiffel Műhelyház (Eiffel Opera – Locomotive Hall)

This out of the way venue has been hosting an increasing number of big productions while the State Opera House is still under renovation. Don’t be afraid to make the journey out to this unique setting for opera.

A Mester és Margarita [Master and Margarita]  Bulgakov’s brilliant, epic novel is scaled down and simplified here, then set to an eclectic array of music by contemporary composer Levente Gyöngyösi and directed by Vajk Szente, who is quite accomplished in musical theatre. They seem to be aiming for a crowd-pleasing crossover, to initiate first-time viewers of opera. Still, the outcome is a coloring-book version of the source material and draws unfavorable comparisons to Jesus Christ Superstar. The venue is unable to mount a full-scale production, so the music is canned, and the choruses are also pre-recorded. By all means, read the original instead! Oct. 9, 13, 14, 15, 16, 17  

Carmen  This mildly modern take on Carmen has swept the opera world, and yet the six hollowed-out cars onstage can seem somewhat gimmicky. Also, my companion and I were troubled by the female stereotypes and casual misogyny in the staging. Nevertheless, the music was splendid, the plot is never boring, and Szabolcs Bruckner’s Don José was fearsomely convincing. Andrea Szántó was good, but seemed to lack directorial support as Carmen. Zsolt Haja was sadly disappointing as the matador. Hold out for Gábor Bretz in this great baritone role. Oct. 8, 10

Veszedelmes Éden [Les Enfants Terribles]  Make sure you are familiar with repetitive music style of Philip Glass before signing up for this modern opera interpretation of Cocteau’s classic novel. The individual scenes are understated and psychological – episodic, preceded and followed by symbolic, balletic dance numbers – with no arias at all. The staff on this production is remarkably young. The set is evocative, yet bland. The dancers’ costumes are practically uniform, so it is hard to distinguish what figures they represent. Overall, the music did not convey much of the story to me, and the English titles were riddled with glaring errors. This could be a fascinating evening for those interested in modern opera, but certainly not a pleasant experience for the casual theatergoer. Nov. 13, 20, 27

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.

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. Oct. 29; Nov. 5, 7, 13

István, a király [Stephen, the King]  Octogenarian director Miklós Szinetár drains all that was cool out of the infectious rock musical from 1983. Granted, this account of Hungary’s founder uniting the nation under Christianity played much differently during the waning years of Communism, but here the production lays the religion on thick. The opera singers are badly equipped to handled this style of music, and King Stephen comes off very milquetoast. For better or worse, the pagan rebel Koppány emerges as far more sympathetic. Not recommended! (Also, this production is not to be confused with King Stephen, the opera by Ferenc Erkel, or the current mash-up of Beethoven, Koetzebue, and Sádor Sík, currently playing at the Eiffel.) Nov. 12, 14, 17, 18, 19, 20

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. Oct. 8

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 the lives of most modern Hungarian women? Oct. 4, 5, 7, 11, 22, 31; Nov. 13, 19, 20

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) Oct. 4, 21; Nov. 2

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. Oct. 16; Nov. 12

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 a child with autism, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. Oct. 14; Nov. 13

Lenni vagy nem [To Be or Not…] I have not seen this production yet, but having read the play, I can state that this is an auspicious start for talented playwright Sári O. Horváth. She captures modern-day existence like few other authors in Hungary. Nov. 7

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! Oct. 15, 29; Nov. 19

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.

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. Oct. 19; Nov. 13

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. Oct. 8, 28; Nov. 12

Tortúra [Misery]  I dare someone to see this staging of the Stephen King novel and tell me their impressions. I will publish your review in my blog. Oct. 21; Nov. 22, 25

Katona József Színház (József Katona Theater)

For a considerable period, Katona was considered the best troupe in Budapest, and it still holds plenty of prestige. It boasts a number of subscribers, and that often makes buying tickets there challenging. Nevertheless, they irked me recently by refusing to refund my tickets for performances canceled due to Covid-19. 

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. Oct. 22; Nov. 12

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 (now sadly departed), 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. Nov. 22, 23

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. Nov. 14, 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 (Katalin Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) Nov. 25

Nemzeti Színház (National Theater)

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. Oct. 30

Rómeó és Júlia [Romeo and Juliet]  Whereas the costuming and sets are traditional, the outcome is derivative and dull. The leads are attractive, but lack chemistry, and there is an overall dearth of excitement and passion. Some of the older members of the company give fine turns as Friar Lawrence, Lord Capulet, and Juliet’s Nurse; still, they cannot save the show. Oct. 5, 14, 15, 16, 17; Nov. 17, 18

Örkény István Theatre (István Örkény Theater)

A hattyú [The Swan]  The set suggests decadence, and the costumes some unintelligible tradition which the characters feel compelled to either follow or subvert. While Csaba Polgár’s production makes some good dramaturgical choices, all the pregnant pauses and added musical numbers run the risk of inflating Ferenc Molnár’s soap bubble of a humanist comedy too far, and the final tableau puts the bitter in bittersweet. All things considered, though, this is a fine introduction to Molnár’s comic genius. The cast is uniformly great. Oct. 29; Nov. 7

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. Oct. 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. Oct. 6; Nov. 11

Kertész utcai Shax mosó [Shax Car Wash on Kertész Street]  You may be shocked by this irreverent, profane, high-octane adaptation of Romeo and Juliet. The single intermission occurs after an extended karaoke sequence at Capulet’s ball – only one act into the original – and we have already been treated to several visual gags (like a slow-mo recreation of a car exploding) and full-frontal male nudity. Believe it or not, this is one of director Viktor Bodó’s most audience-friendly outings. The ostentatious drug use may seem excessive, but there is nothing here that contradicts the spirit of the original. Several cast members shine as the modern reincarnations of these characters – Ester Csakányi (Nurse), Csaba Polgár (Mercutio), Pál Mácsai (Friar Lawrence), and Gabriella Hámori (Lady Capulet) spring to mind. I also found Tünde Kókai appealingly ingenuous as Juliet; however, Márton Patkós should stop overacting as Romeo. It really brings down the concluding scenes. Oct. 13, 14, 30; Nov. 6, 19

Macbeth – The framing device for this take on the Scottish Play is a museum exhibit of a crown, before the four security guards/tour guides begin re-enacting the events of the play. The highlight for me was the banquet scene, held in the lobby of the space, where we were treated to water and pogácsa (little savory biscuits) while Mr. and Mrs. Macbeth sang a popular number from the operetta Queen of the Csardás. Still, for native English speakers, this version will not add much to your appreciation of the original. (studio space) Oct. 6, 17; Nov. 15

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) Oct. 14, Nov. 19

Pesti Színház (Pesti Theater)

A kő [Der Stein]  This is a competent and pleasant staging of contemporary playwright Marius von Mayenburg’s piece, which deals with German identity, guilt, and responsibility. It is attractive, but unremarkable and ultimately forgettable. Oct. 6, 12, 28; Nov. 19, 27

A Nyugat hőse [Playboy of the Western World]  Director and newly-appointed theatre head Péter Rudolf scores a directorial success with this classic Irish play. He misses some of the humor, he could certainly do more with the Widow Quin character, but he works wonders with Attila Vidnyánszky, Jr., who appears positively waifish in the lead role as Christy. The set is realistic and effective, although I cannot say the same for the fake facial hair. Ákos Kőszegi plays Mahon (the father figure presumed dead) with startling immediacy. Andrea Waskovics needs to work on her projection, so she can be heard as the love interest Pegeen. The play really takes off in Act Three with a dynamite fight sequence. Oct. 9, 10; Nov. 11

Radnóti Színház (Radnóti Theater)

10  Both thematically and structurally reminiscent of Krzystof Kieślowski’s Dekalog, Csaba Székely’s new play centers upon the interlocking tales of ten residents at the Hope Housing Estate, each of whom represents one of the Ten Commandments that they break. Who are these characters? A saintly young man with intellectual disabilities, a man with body dysmorphic disorder, an incest survivor-turned-prostitute (the only character identified as Roma), a workaholic female head doctor, a soldier in Afghanistan with abandonment issues, and a bored trophy wife, among others. The writing can be heavy-handed, and some actors fall into the trap of overacting. Others have moments of brilliance. Yet, the duration is well over three hours, and the last hour is spent tying up plot threads. A recurring theme is emotional blindness, most obvious in the case of a narcissistic paintress who can see others’ auras, but is insensitive to their pain. Blocks of assisted storytelling are separated by interludes wherein the cast sings the Biblical text in a dead language. This is most powerful when the music sounds like modern gospel. Transylvanian director Aba Sebestyén uses plenty of face-forward and two hand-held cameras to provide (occasionally effective) live visual effects, but this technique already seems old hat. Oct. 2, 30; Nov. 9, 30

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.

Bankhitel [Bank Credit]  Imre Baksa had success with this two-character piece before. Now he teams up with Sándor Tűzkő to enact Jordi Galceran’s lightweight take on capitalism, loans, and infidelity. I am curious if they still make use of the old animated clips, which so effectively hinted at the play’s larger themes. Oct. 3, 31; Nov. 20, 21

Budapest fölött az ég [The Sky over Budapest]  Essentially a modern Hungarian re-interpretation of Wings of Desire, this sprawling production spans three locations and over three hours. The ambition is startling, and there are some moments of brilliance; however, the meditations on what it means to be Hungarian are unlikely to move foreign members of the audience. While director Attila Menszátor-Héresz is a bit colorless as the lead angel, Rita Csáki steals the show as his Lucifer-like foil. Laszló Kassai and Katalin Mérai also provide their inimitable charm in a range of cameos. Oct. 13, 14, 15; Nov. 16, 17

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. Oct. 25; Nov. 6

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. Oct. 22; Nov. 19

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). Oct. 30, 31; Nov. 28

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. Nov. 19

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. Oct. 20, 21; Nov. 14

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. Oct. 8; Nov. 25

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. Oct. 10

Szkéné Színház (Szkéné Theater)

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. Oct. 18, 19, 20

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. Nov. 16

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! Oct. 30, 31

Anyám orra [My Mother’s Nose]  Like some of Béla Pintér’s pieces, this exploration of moral insanity is arguably a trip to nowhere. Still, it is a thrilling and imaginative ride, and the final tableau is a knock-out. Undeniably memorable. Nov. 25, 26, 27

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. Oct. 27

Szutyok [Muck]  In what is possibly Béla Pintér’s most heartbreaking production about the intolerable state of being unloved, a case of child adoption takes on mythic and nightmarish proportions. The cast is superb, embodying their roles lovingly. The piece incorporates elements of folk dance and musical theatre, while deploying an unsettling, potent blend of comedy and tragedy. Highly recommended! Nov. 18, 19, 20

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! Oct. 23, 24

Tesla Teátrum (Tesla Theater)

Feljegyzések az egérlyukból [Notes from the Underground]  Radnóti Theatre’s studio space hosts this production by the Füge Company, which brings detailed physical acting to this succinct and faithful adaptation of Dostoevsky’s classic. The staging is simple, and the cast is strong overall. By not straining to make the atmosphere oppressive, they provide a clear portrait of human frailty and insignificance. Oct. 11; Nov. 12

Trafó House of Contemporary Arts

Winterreise [Winter Journey]  By staging Schubert’s song cycle with footage from Hungarian refugee camps, director Kornél Mundruczó provides a thought-provoking comment on the immigration crisis. Actor/singer János Szemenyei is not classically trained, but his commitment to the music is compelling. On the evening I saw it, the pianist played with a disgraceful lack of passion. Provided you prepare beforehand by learning about the songs, this can be a highly engaging evening. Nov. 12

Nagymamával álmodtam [I Dreamed of Grandma]  In his one-man show, László Göndör deploys a mix of stand-up comedy, performance art, video clips, harp-playing, and meta-theatre in order to investigate his relationship with his grandmother, a Holocaust survivor. Mr. Göndör’s stage presence is undeniable. The show is original and engaging without ever descending into sentimentality or exploitation. He plays the fool at times, but this script was meticulously constructed. Be forewarned: it can be very hard to follow at times, but perhaps that is the point. These feelings are difficult to communicate and process. Oct. 3, 4; Nov. 14, 15

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. Oct. 24

Újszínház (New Theater)

A bolondok grófja [The Count of Fools]  Based on a tale by Romantic writer Mór Jokai, a man seeks to regain his ancestral estate, only to find it has been repurposed as an insane asylum. Can he assert his authority over the inmates as their assumed lord, and what of the comely lass who never speaks, but only sings touching folk songs? This is all packaged as a comedy, and the acting talent ranges from competent to community-theatre amateur. Overall, it plays like children’s theatre for adults, and it is tedious at times. Oct. 17; Nov. 11

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. Nov. 21

Az élet kapuja [The Gateway of Life]  Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s dramaturgical finesse. Instead we get a pandering piece about a Hungarian delegation to Rome in 1512 and political intrigues with Pope Julius II, played well by Ottó Viczián. All in all, though, this seems to be a vanity project on the part of the theater’s manager, György Dönner, who cast himself as the clever cardinal protagonist. Nov. 26, 27

UP Újpesti Rendezvénytér (Events Building of Újpest)

Take Metro 3 (if it is running) to the end of the line in Újpest. Tucked behind the ornamental town hall and across the small square is this very modern-looking meeting facility – the new venue of choice for Béla Pintér and Company since they decamped from the Átrium.

Anyaszemefénye [The Glimmer in Mom’s Eye]  For their first production at this new venue, Béla Pintér’s fine ensemble of actors (plus Adél Jordán and Ervin Nagy from the Katona) sing all the dialogue over a pastiche of familiar classical musical, once again brilliantly accompanied by Antal Kéménczy on the piano. There are laughs and surprises, as well as some horrifying twists on this emotional roller-coaster that covers themes of fame, adultery, drug addiction, and the plight of children. Perhaps best viewed as an infernal, 80-minute, anti-drug public service campaign, the piece definitely leaves the audience wondering, “How much of this was ironic, and how much was sincere?” Nov. 15, 16

Vérvörös Törtfehér Méregzöld [Blood Red, Broken White, and Toxic Green]  You may experience this Béla Pintér piece as a sci-fi extrapolation of our current pandemic crisis, or as a distorted reflection of racial tensions in Hungary; still, fundamentally, it is a strict adaptation of Sophocles’ Oedipus Rex. His insight into the Ancient Greek tragedy is sharp and revealing, but as a parody of existing racist trends, the work is less effective. Given the lack of a strong moral compass, it could seem as though Pintér is encouraging the audience’s prejudices, and his use of a flamboyant gay character (in place of the blind prophet Tiresias) as a broad target for comedy is also upsetting. Nov. 8, 9, 10

Vígszínház (Comedy Theater)

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. Oct. 16, 17; Nov. 25

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) Nov. 22

A nagy Gatsby [The Great Gatsby]  Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. All the same, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. Oct. 30, 31; Nov. 4, 17

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. Oct. 3, 24, 26; Nov. 5, 10, 14, 16, 24

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) Oct. 1, 20; Nov. 18, 26

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) Oct. 15, Nov. 15

Az öreg hölgy látogatás [The Visit]  Dürrenmatt’s modern classic is revived repeatedly on Hungarian stages, but this version (Péter Rudolf’s first direction on the main stage since assuming control over the Vígszínház) fails to impress. There are some fine irreverent moments. I enjoyed when the billionaire widow Claire Zachanassian returned to the small town that previously exiled her with a retinue of scantily clad leather bears. It was a Lady Gaga moment, forcing the provincial folk to disguise their shock and horror, while fawning over the former pariah for the sake of her money. Barbara Hegyi holds her own in the lead role, and Géza D. Hegedűs provides a nice air of good-natured fatalism as the man Claire has order the town to kill. On the other hand, the ensemble cast is colorless, and when Mr. Rudolf has them pose across the stage as trees to create the forest scene, the effect is somewhat pathetic. He needs more experience in the space in order to use the main stage effectively. Oct. 1, 2, 20; Nov. 18, 26   

Csáth és démonai [Csáth and His Demons]  The doctor-author-critic-musician Géza Csáth is an undeniably fascinating figure, a turn-of-the-century Renaissance man; however, Szabolcs Horváth, while handsome in the title role, captures neither his fearsome intelligence nor his haunting imagination. The text, assembled and directed by Róbert Vörös, prefers to dwell on Géza Csáth’s drug addiction. The best part of the show is the live piano accompaniment, provided by Dávid Mester. Oct. 18, Nov. 28

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. Oct. 19; Nov. 23

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) Nov. 14

 See you at the theater!