Budapest Theatre Digest

Here is your guide to the performance options in February 2022.

Entries are arranged by theater or venue. Most shows begin at 7pm, unless otherwise noted.

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. February 4

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 Kataln Takács in the iconic role that garnered Ellen Burstyn an Oscar nomination. February 5

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 (Tibor Szolár) discovers that his “boring” grandmother (Gyöngyi Blasek) is a skilled cat-burglar, he eventually concocts a scheme for them to steal the Crown Jewels. Norbert Ács and Edina Ellinger ham it up outrageously as Ben’s parents, but that does not detract from this tear-jerking portrayal of cross-generational understanding. Thoroughly charming! February 16 (6pm)

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! February 3 (6pm)

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. February 15 (6pm), 16 (6pm), 17 (2pm, 6pm), 18 (6pm)

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.

A cigánybáró [The Gypsy Baron]  Wisely setting this operetta by Johann Straus, Jr., in a carnival atmosphere, director Miklós Szinetár can be just as pastel and chintzy as he wants. Yet, with the story-book projection during the overture, it becomes clear that this is to be a lesson about Hungary’s culturally diverse past and the benefits of multiculturalism. To this end, he has András Hábleter play an obnoxious and largely superfluous narrator, who then must justify his presence onstage with distracting business. A final dance to “The Blue Danube” also underlines the message. Overall, though, the production is as whimsical as children’s theatre. It is far too fluffy to support social commentary, no matter how well-intentioned. February 18 (6pm), 20 (6pm), 25 (6pm), 27 (11am)

Manon Lescaut  In place of their last production of Puccini’s classic potboiler (which was standard, boring, but workman-like), this quasi-modern version fails to deliver. It is too inept in its traditionalism to convey the plot properly, and the avant-garde touches feel superfluous, derivative, or worse. (The random demonic extras seem lifted from the work of Romanian director Silviu Purcărete.) Perhaps the weakest part is Act One, which has no consistent visual style and seems costumed from four different operas. Also an arriving car effect falls so flat, it makes you wonder, "Why did they bother?" Close your eyes during the overture to Act Three in order to miss the tacky video. Plus, the massive set is immobile, and they do not mask it for the final scene in the desert, so just pretend it is not there. That said, the work itself is beautiful and heart-wrenching, the orchestra plays well, and the singers are by and large up to the vocal challenges. February 4, 6

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) February 11 (7:30pm), 25 (7:30pm)

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. February 19

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. February 8

Lenni vagy nem [To Be or Not…]  Playwright Sári O. Horváth captures modern-day existence like few other authors in Hungary. In this production from Szeged, featuring a cast of seven women and one man, she explores the pressures to become a mother and raise a family. The lone male figure is immune to this pressure and takes no responsibility for his mostly cavalier treatment of the women. Despite a lackluster start, the direction provided by Kristóf Widder was serviceable, yet nothing brilliant. Gábor Róbert seemed lost in his role as the philandering Dr. Király, but several of the actresses (particularly the older women) had stellar moments. February 27

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! February 18 (6pm), 26 (6pm)

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. February 18

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. February 20 (3pm)

Katona József Színház (József Katona Theater)

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. February 1

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. February 4, 16

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) February 1

Nemzeti Színház (National Theater)

Éden földön [Eden on Earth]  The legend of Istók Hany is Hungary’s answer to L’enfant sauvage. Supposedly, the boy, who had grown up in the wild, was found by fisherman and brought to the royal court in 1749. Eventually, though, he fled back into the wilderness. In this dramatization, he simply finds the civilized world, with its superficial manners and pedantic ways, too baffling. The nearly two-hour running time is filled out with stunning costumes (especially in the wilderness scenes), dancing, and catchy, simplistic tunes courtesy of Tamás Szarka (front-man of the popular group Ghymes).The show is perfect for children, but liable to irritate adults with its lack of content. February 5 (3pm)

Üvegfigurák [Glass Menagerie] Norwegian director Eirik Stubø’s understated staging of Tennessee William’s popular play is quite effective with disarming performances by Eszer Ács as Laura and Andrea Söptei as Amanda. The latter does not come off as a harpy, as in previous incarnations. The big drawback is Sándor Berettyán as Tom, who has absolutely no presence onstage. I can barely recall his performance. February 4, 5

Örkény István Színház (István Örkény Theater)

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. February 12

A legyek [The Flies]  This scaled-down staging of Jean-Paul Sartre’s take on the evergreen tale of Electra is visually arresting, and it deftly evokes the collective guilt of a community haunted by crimes that go unpunished. Zsolt Nagy, as Jupiter, proves again that he is good in superhuman roles. Still, despite good performances, the show fails to convey the tragic downfalls of its main characters, lacking the epic sweep of the Frenchman’s original vision. February 11 (7:30pm), 24 (7:30pm)

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. February 1

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. February 13

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. February 8, 27

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. February 5

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) February 1 (7:30pm), 14 (7:30 pm)

Édes Anna [Sweet Anna]  Dezső Kosztolányi’s slim, splendid 1926 novel about an enigmatic, long-suffering, and ultimately homicidal serving maid seems perfect for a creative stage adaptation, but director Zita Szenteczki and dramaturge Bence Biró trot out all the dull and tired modern techniques. The result is not illuminating in the slightest, and none of the talented actors manage to capture what was so fascinating about these characters on the page. Best to read the book, which is available in English translation. (studio space) February 4, 15

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. February 19, 20

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) February 9 (7:30pm), 27 (7:30pm)

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. February 11

Zűrzavar 2045 [Upheaval 2045] This wild adaptation of Leo Birinski’s tragicomedy (created by director Csaba Polgár, featured actor Gerely Bánki, and Sára Gábor) portrays a hypothetical future where Hungary (Zengaria) has been incorporated into a Soviet super-state. Still, the humor is strained, contrived, and often unmotivated. The overall hyperactivity plays like desperate ploys for laughs. February 23

Pesti Színház (Pesti Theater)

II. Richárd [Richard II] With a line-up evidently meant to show off the company’s young talent, world-class Transylvanian director Gábor Tompa takes on Shakespeare’s challenging history play, adding a brief interlude to introduce three figures at the beginning – which makes emotional sense, sort of, but does little to illuminate the complicated political intrigues. On the plus side, Miklós H. Vecsei is well-cast as the irresponsible monarch. He is not as flamboyant as he could be, but he is flashy and definitely understands the self-indulgent histrionics of the role. The costumes are less inspired for the king’s favorites (Bagot, Green, and Bushy), who come across as nondescript, as does Attila Vidnyánszky, Jr. in the key role of Bolingbroke (soon to be Henry IV). I struggle to remember his performance. The famous garden scene was replaced by a drug-inspired vision among the queen and her decadent ladies-in-waiting. The result is visually arresting, but less than coherent. February 17 

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. February 11, 18

A Nyugat császára [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. February 26

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. February 10

Radnóti Színház (Radnóti Theater)

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. February 1, 4, 13, 14, 20 (5pm)

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 have made use of the same animated clips, which so effectively hinted at the play’s larger themes. February 11 (8pm)

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. February 7

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. February 6 (8pm)

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. February 5 (7:30pm)

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. February 28 (7:30pm)

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). February 12 (3pm), 13

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. February 19 (7:30pm)

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. February 28 (7:30pm)

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. February 13 (11am)

Szkéné Színház (Szkéné Theater)

A nagy füzet [The Notebook]  Deploying a bizarre mix of elements – offbeat casting, dance, and strange use of food as props – this adaptation of Ágota Kristóf’s bleak World War 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. February 5

A sütemények királynője [The Queen of Cakes]  Mostly one concentrated scene of domestic misery. Béla Pintér tackles the topic of child neglect and abuse like no other Hungarian playwright, also turning in a brave performance as the tyrannical father. The cast is solid, and the effect is brutal, although the ending is too rushed. February 9, 10, 11, 12

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. February 1 (8pm)

Parasztopera [Peasant Opera]  Béla Pintér’s classic theatrical confection blends folk dancing and music with baroque recitatives to serve up an opera plot set in the isolated Hungarian countryside complete with murder, infidelity, and incest. It all culminates with a fateful retribution which inspires both pity and fear. With this production, Pintér perfected the comic dissonance of characters singing Hungaricums like “The chief railway officer is drunk as a pig!” or improbabilities like “I was attending a Lutheran conference in Minnesota” to classical-sounding airs. The show is imaginative and brilliant. A must-see! February 24, 25

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! February 26, 27

Tesla Teátrum (Tesla Theater)

A vágy [Desire]  While not as scabrous as some of Franz Xaver Kroetz’s works, staging this piece definitely demonstrates the daring of the Radnóti company. When a gardener takes in his wife’s nephew (just released from prison on account of a sex crime), the young man assures him he is harmless due to the libido-suppressing drug he must take; however, just the presence of this blank-slate Adonis turns the homeowner’s world upside down. While I do not find anything revolutionary in the material (which plays out like a middle-aged man’s insecurities before becoming wish fulfillment), the author can certainly make the audience squirm by throwing light on ordinary people’s intimate deeds. The cast is fearless (especially Zoltán Schneider and Adél Kováts as the older couple), Róbert Alföldi directs sex scenes like no one else, and I liked the details in the quasi-realistic set by Eszter Kálmán. February 5, 23

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. February 20 (3pm)

Gina – This fresh work penned by film director Mihály Schwechtje pulls no punches, and unlike many new plays, its milieu is startlingly up-to-date. Gina refers to a date-rape drug administered to an under-aged girl at a party attended by the championship water polo team of a small town, which is due to receive a large government subsidy to build a sports facility. What unfolds is not sad because it is awful, but because it is so damn plausible. Social media is instantly in an uproar. The coach of the water polo team has enough clout to intimidate the senior female investigator assigned to the case. The parents of a boy accused of wrongdoing turn on ne another, each blaming the other’s parenting style for what their son might have done. In the midst of this, there is the victim, who simply wants to know what happened to her during the time she blacked out. This is an auspicious play, but unfortunately, the playwright directed it himself, where an experienced theatre artist could have done better. At one point or another, he has certain characters go through an exaggerated emotional upheaval onstage, which pushes these dramatic moments toward ironic or unintended comedy. On the whole, the cast is strong; however, Orsolya Török-Illyés, best known for her film work, visibly lacks stage technique. That is a shame, since she taps into deep emotion quite naturally. February 26

Trafó House of Contemporary Arts

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. February 9 (8pm), 10 (8pm)

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 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. February 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. February 13 (3pm)

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?” February 2 (8pm), 3

Tündöklő középszer [Dazzling Mediocre]  An altogether lighter offering by Béla Pintér, this exercise in self-parody focuses on the petty internal conflicts of an independent theatre company in Budapest, but there is plenty of heart-wrenching humor to be found. Pay attention to the play-within-a-play written by the dim-witted impresario Géza. It could be the great absurd drama the actual author has yet to write. Recommended for confirmed Pintérites. February 1

Sehova kapuja [Gate to Nowhere]  This early play by Béla Pintér deals with the misguided evangelists of a religious cult who journey deep into the countryside to make converts. Fanaticism, alcoholism, folk dancing, drug use, and repressed sexuality are all unpacked. A journey to nowhere, perhaps, but undeniably unique. February 7 (8pm), 8

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. February 28 (8pm)

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. February 13, 28

A nagy Gatsby [The Great Gatsby]  Vidnyánszky, Jr.’s directing style is flashy, incorporating plenty of movement, music, and dance. Nonetheless, this evocation of F. Scott Fitzgerald’s classic novel is none too revealing. Márk Ember gets an effective character arc as Tom Buchanan (the narrator of the novel), but József Wunderlich in the role of Jay Gatsby comes off as a self-pitying emo. The rest of the cast… well, we barely get to know them. February 2, 17, 21

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. February 5 (2:30pm), 7, 15, 18, 26 (2:30 and 7pm)

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) February 10 (7:30pm), 27 (7:30pm)

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) February 9 (7:30pm), 20 (7:30pm)

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. February 10, 27 

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. February 19 (3pm)

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. February 23

See you at the theatre!