Budapest Theatre Digest

The Hungarian State Opera House is due to reopen.

Here is a photo from their production of Die Frau Ohne Schatten.

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

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

In terms of this blog, it has become a time for soul-searching again. I am sure the guide provides a great help to English-speakers or foreigners trying to navigate the Budapest theatre scene. However, I cannot visit every venue or see nearly all the new productions that I would like to review. Also, there are some theaters and productions that are not to my taste, and I cannot bring myself to see them unless my ticket is free. With all that in mind, here are my very subjective tips on performances in March 2022.

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. March 1, 25

Rekviem egy álomért [Requiem for a Dream]  The 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. March 11, 23

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! March 7 (3pm), 19 (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! March 17 (7pm), 18 (6pm)

Centrál Színház (Central Theater)

Ma Este Felnövünk [Groan Ups]  This commercial comedy is competently staged, but a little dull at times when not veering into melodrama. We see the cast as children, then as adults when they meet again at a reunion. The centerpiece of the drama is a coming-out that does not quite add up. March 5, 6, 8, 13, 18, 26 (3pm and 7pm)

Eiffel Műhelyház (Eiffel Opera – Locomotive Hall)

This out of the way venue has been hosting an increased 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.

Pelléas ét Mélisande I am a huge fan of Debussy’s opera, but despite an evocative opening tableau, Kirsten Delholm’s static, modern direction does little more than make the symbolism painfully obvious and suck all dramatic potential out of the scenario. The child’s solo scene is here, which is rarely staged, but the all-important night scene with the sunken ship is cut. The performers who managed to inject life into their characters (at the performance I viewed) were István Kovács as the jealous baritone and Péter Fried as the older, ailing king. Zsolt Haja as the romantic Pelléas was as dull as soggy white bread. Polina Pasztircsák was appealing as Mélisande, but seemed to lack guidance. There is plenty more to this enigmatic role. The lighting was too dark and did not improve until the curtain call. Also, keep in mind that the original lush score is played by a chamber orchestra in this production. March 4 (8pm), 6 (11am), 12 (7pm)

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. March 4 (6pm)

József Attila Színház (Attila József Theater)

Sóska, sültkrumpli [Sorrel with Chips]  This particular performance ran for around a decade at the now defunct Budapest Studio Theatre before migrating to the József Attila Színház venue. Its central concept, a play about a soccer match seen through the eyes of the referees, is quite clever. The result is a light and amusing show, and though it may seem a bit routine, Zoltán Karácsonyi and Károly Nemcsák embody their characters as easily as well-worn jerseys. (studio space) March 4 (7:30pm), 22 (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. March 30

Egyasszony [One Woman]  It is difficult to recommend monodramas, since understanding the language is so crucial to comprehension. Nevertheless, this could well be the best monodrama now in Budapest. Réka Tenki gives a touchingly direct performance as the clueless young mother of an autistic child, dealing with the hideous pressures heaped upon her in addition to a bad marriage, before she decides to take control of her life. Through the magic of theatre, she becomes a woman before our very eyes. March 16 (8pm)

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. March 26 (8pm)

Sociopoly  Don’t let language fears stop you from playing this interactive board game, acting as a member of one of four families trying to live out one month in the poorest county of Hungary. The situations are clear. Take a back seat and enjoy this one-of-a-kind, eye-opening experience. English version also available. A must-try! March 25 (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. March 21

Klotild néni [Aunt Klotild]  Gábor Vaszary’s three-act farce is a classic example of cabaret theatre, but by English standards, it qualifies as an old chestnut. For this musty humor to appeal to you, you must have a decidedly old-fashioned funny bone. March 25

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. March 9, 30

Ascher Tamás Háromszéken [Tamás Ascher in Háromszék]  Béla Pintér's new piece at the Katona works on a variety of levels. In part, it is a riposte to those who criticized his handling of public individuals' private lives in A bajnok. Now he returns with a parody of himself, director Tamás Ascher, actor Zoltán Bezerédi, and the theatre's manager Gábor Máté. It is a brilliant evening of comedy and drama with a great cast and splendid music by Csaba Ökrös (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 snobism – there is far too much to unpack adequately. Plus, foreigners will have a hard time appreciating the in-jokes and the song lyrics. March 13

A fehér szalag [The White Ribbon]  Accomplished dramaturge and actress Éva Enyedi was inspired to bring Michael Haneke’s 2009 black-and-white film to the stage, but it plays like an effort in futility. Despite the stark color palette, she is unable to achieve the atmospheric effect of the cinematography, and the medium of theatre does not allow the sort of subtle characterization one can achieve in film. With practically all the actors at least double cast (most playing an adult and a child), figuring out the relationships, let alone the plot, is an ordeal. I think I know what happened, kinda, but how should I feel about it? March 11, 26

Széljegy [Marginal Note]  Prolific playwright György Spiró's new piece about sharks and marks on the real estate market plays like a verbose one-act, staged on a cool lozenge-shaped set with seating on both sides and delivered at top speed by the excellent cast. The dialogue is sparkling, but one hour is still a long time to watch a naive victim (Andrea Fullajtár) and her overbearing mother (Kati Takács) walk unsuspectingly into an obvious trap. Also, we do not receive much insight into the villains' motivations, neither those of the low-life swindler (Barna Bányai-Kelemen) nor the lawyer (Judit Rezes) who is capable of cruelly betraying her former friend. (studio space) March 26 (3pm)

Kolibri Színház (Kolibri Theater)

Locspocs és a sárkánylány [Locspocs the Sea Monster and the Dragon Girl]  Children’s performances are often very entertaining and inventive, as well as easier to understand than adult drama. Take for example the tale of Locspocs, the sea monster who is afraid of the water. He overcomes his fear, learns how to swim from an octopus, embarks on an adventure, and finally finds a deserted island where there lives a near-sighted female dragon who seems made for him. Along the way, there are colorful cameos, like the pirate Másfél played by István Mult. March 18 (10am), 19 (3pm), 20 (10am), 21 (10am)

Magyar Állami Operaház (Hungarian State Opera House)

The Opera House is finally opening after a years-long renovation project. Until I am inside the building, it is difficult to report on the outcome. Suffice it to say, they are opening with a new production of a classic national opera (László Hunyadi by Ferenc Erkel), meant to show off the technical capabilities of the new stage. Also featured this month is the ambitious ballet Mayerling and the sprawling opera Die Frau ohne Schatten by Richard Strauss. I base my review of the latter on the production I saw prior to the renovation.

Az arnyék nélküli asszony [Die Frau ohne Schatten]  This epic, genre-defying opera is bonkers, and director János Szikora strikes the right tone. Far from stealing the focus, the use of video clips illuminates the themes, helps establish the settings (which bounce between reality and fantasy), and provides a close-up of the dramatic soprano at a key point. (This is highly effective when paired with the inspired performance of Szilvia Rálk as the Dyer’s Wife.) The duet between the Empress and the Nanny is also a high point. Even if some of the special effects fall a bit flat, the overall look is pleasing and impressive. There is also great re-purposing of costumes from Balázs Koválik’s earlier production of Mefistofele. If you are up for the zany, meandering story line, I recommend this wild ride. March 18 (6pm), 20 (6pm), 25 (6pm), 31 (6pm)

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. March 27 (3pm)

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. March 7 (6pm), 8 (6pm), 9 (6pm)

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. March 13, 14

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. March 24

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. March 2, 19

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. March 11 (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. March 8

Anyám tyúkja (2.) [Mother’s Hen, Part 2]  With the second installment of their poetry program, director Pál Mácsai broadens the net, selecting a wider range of poems that are lesser known and cover more adult themes. The journey is deeper, but thematically arranged as the poems deal with questions of identity, existence, family life, and even sexuality. Nearly every performer, seasoned veterans and talented newcomers alike, has a shining moment. March 31

Azt meséld el, Pista [Tell That One, Stevie]  For his one-man-show, Pál Mácsai embodies the theatre’s namesake, István Örkény, and simply recounts tales from the talented author’s life. No, it is not a three-act drama, but it delivers precisely what it promises. March 14

Az ügynök halála [Death of a Salesman]  True to their style, the Örkény stages Miller’s classic in a stripped-down, minimal fashion – meant to bring out the beauty of the text and not necessarily arouse our emotions. When Willy’s wife claims at the end, “I cannot cry,” we are supposed to share her sentiment. March 10

Az üvegbúra [The Bell Jar]  Director Kristóf Widder brings Sylvia Plath’s cult novel to the stage intelligently on a hot set by Eszter Kálmán and with effective piano music by Árpád Kákonyi. (The sounds of the telephone are palpably threatening.) Bold movement theatre-inspired staging brightens up what is essentially a 90-minute monodrama featuring two assistants. Emőke Zsigmond commits fully to her role as Esther Greenwood, and Tünde Kókai slips in and out of multiple female characters with understated grace. Béla Dóra’s characterizations need more variety. I found him too comic as Esther’s fiancé Buddy, but that may simply be the director’s interpretation. Also not quite measuring up are the lighting effects by Richárd Kehi, which are only intermittently inspired. Young dramaturge Sára Gábor should also pay attention that if Esther’s loss of virginity is too positive (and not comic-grotesque, as it was in the novel), it sends the message that lack of “normal” hetero sex leads to lesbianism, madness, and suicide. Overall, a good show! (studio space) March 8 (7:30pm)

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. March 3

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. March 13

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) March 10 (7:30pm)

Secondhand – This Soviet etude about Russia identity, which premiered in 2018, could not be more timely; and since it is based on the writings of Svetlana Alexevich, the source is authentic. The show is cohesive, thanks to a clever unifying concept, as well as the ingenious use of props and a mountain of cast-off clothing. The dizzying array of styles and genres can be baffling, but the cumulative effect is astounding. It is definitely not easy to understand, but if your language skills are up for the challenge, it is highly recommended. March 17

Tótek [The Toth Family]  This adaptation of Örkény’s novel is far different from the classic play adaptation. The producers seem determined to show us all the material that we would have missed if we only watched the play. This means Modern Direction 101, with plenty of face-forward and direct address to the audience. Despite the innovative staging, the result is singularly un-dramatic. Highpoints are provided by the World War Two-era songs that punctuate the storyline. Still, we might as well read the novel at home, or watch the movie Isten hozta, őrnagy úr with Zoltán Latinovics. March 6

Zűrzavar 2045 [Upheaval 2045] This wild adaptation of Leo Birinski’s tragicomedy (created by director Csaba Polgár, featured actor Gerely Bánki, and dramaturge 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. March 29

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. So 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. March 23

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. March 18, 26

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. March 25

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. March 3, 29

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. March 13, 14, 16, 28

Egy csepp méz [A Taste of Honey]  Best known from the classic British film starring Rita Tushingham, the production here catches the spirit of the original play, but does not quite reflect the difficult living conditions in 60s England. Ádám Pörögi is good as Geof, and Adél Kováts shines as the unsympathetic mother, a tragic figure in her own right. However, Blanka Mészáros, as the heroine, fails to make an impression. March 18, 31

Egy piaci nap [A Market Day]  Novelist Pál Zavada has often mined dark moments of Hungarian history, but this dramatization of anti-Semitic violence in the countryside, suffering under post-WWII Communist oppression, handles the materially in a dismally shallow manner. For the most part, the characters are juvenile, idiotic, and obnoxious. March 23

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. March 19 (7:30pm)

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. March 2, 3

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. March 21 (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. March 11 (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. March 22 (7:30pm)

Szomjás férfiak isznak helyettem [Thirsty Men Drink Instead of Me]  This lively cabaret featuring four distinctive actresses (directed by actor Zsolt Mathé of the Örkény Company) attempts to crystallize the experiences of contemporary Hungarian women. Along the way there are some pearls of comedy, but not enough dramaturgical string to hold it together. March 24 (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). March 19, 20 (3pm), 27 (3pm)

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. March 25

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. March 30 (7:30pm) 

Szkéné Színház (Szkéné Theater)

42. hét [42nd Week] When widow and obstetrician Dr. Imola Virágvári (Eszter Csakányi) falls for TV star László Vargyas (Szabolcs Thuróczy), she embarks on a second adolescence, but beware the cruel hand of fate! The piece is a perfect example of Pintér’s modern Hungarian magic realism and perhaps his most fully-developed storyline. Highly recommended! March 19 (8pm), 20 (7pm) 

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. March 29 (8pm), 30 (7pm)

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. March 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 are more explicit than usual, but despite energetic performances and eye-candy effects, this outing seems slighter than his other efforts. Recommended for confirmed Pintérites! March 10, 11

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. March 27, 28

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. March 8

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. March 26 (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. March 25

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. March 27 (8pm), 29 (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. March 5 (3pm)

Az élet kapuja [The Gateway of Life]  Based on a novel by Ferenc Herczeg, this cut-and-dry adaptation lacks the late author’s elegant dramaturgy. 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. March 26 (7pm), 27 (3pm)

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. March 31

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?” March 14, 15

Kaiser TV, Ungarn  Time travel and a mythical 19^th-century television station are just a couple of the fantastic premises on which this tale is based, hinging on the possibly reversible outcome of a battle in the Revolution of 1848. This could be Béla Pintér’s most feel-good show. (He and Szabolcs Thuróczy are delightful as Sándor Petőfi and Lajos Kossuth, respectively.) Still, the story is definitely by Hungarians for Hungarians. March 16, 17

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. March 1, 2

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. March 14, 31

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. March 2, 3, 23

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. March 4, 9, 16, 25

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) March 7 (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) March 9 (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. March 11, 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. March 13 (7:30pm), 29 (7:30pm)

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. March 18 

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) March 19 (7:30pm)

See you at the theatre!