Budapest Theatre Digest

Here is your guide to the performance options in January 2023.

Entries are arranged by theater or venue.

All shows begin at 7pm, unless otherwise noted.

A new year, new resolutions. I hope to bring the blog up-to-date.

Also, I will feature the most highly recommended shows at the beginning.

TOP TIPS:

Solness (Ibsen’s The Master Builder) – István Örkény Theatre

A kastely (Kafka’s The Castle) – Vígszínház (Comedy Theater)

Eltűnő ingerek (Vanishing Senses) – Trafó House of Contemporary Arts

Living the Dream with Grandma – Trafó House of Contemporary Arts

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. Jan. 5

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. Jan. 15

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! Jan. 13, 14

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! Jan. 8, 26

Budapest Operetta Theater

A mosoly országa [The Land of Smiles] East meets West in a romantic clash of cultures in this classic operetta by Ferenc Lehár. The music and sets are great, while some costume and blocking choices are puzzling. Still, if you are looking for a lavish musical with not much plot, this traditional production is recommended. Jan. 13, 14 (3pm, 7pm), 15 (3pm, 7pm)

Marica grófnő [Countess Marica]  A traditional and attractive production, this is a fine introduction to the world of operetta and the music of Imre Kálmán; yet, the quality can vary greatly depending on the cast. There are crowd-pleasing romantic duets, comic dance numbers (which are more acrobatic), and even a set piece with an “African dancer” in black body make-up – something hard to find nowadays in our socially-enlightened English-speaking theatre world. Jan. 20, 21 (3pm, 7pm), 22 (3pm, 7pm)

Centrál Színház (Central Theater)

Network  Typical of the trend to transplant a successful film onto the stage, the direction here is slick and impressive, and the material still feels very topical. Nevertheless, the actors (with the exception of Zsolt László) fail to put their own stamp on the characters, and star Róbert Alföldi comes nowhere near the intensity of Peter Finch in the iconic leading role. Best to watch the original, classic film from 1976. Jan. 3, 4, 5, 6, 7 (3pm, 7pm)

Játékszín (Play Stage)

Menopauza [Menopause]  The actresses have the audience in stitches during this light piece about four mature women who meet and bond during a shopping spree at Bloomingdale’s, where scenes of broad comedy are interspersed with parodies of universally recognized songs. Judit Hernádi and Andrea Szulák bring the star power, and Erika Náray has a great singing voice. Yet, why did they keep those outdated stereotypes, not to mention the set-up, which does not reflect lives of most modern Hungarian women? Jan 13, 14 (3pm, 7pm), 15 (3pm, 7pm), 16, 17, 18, 19 (5pm, 8:30pm)

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) Jan. 15 (3pm)

Jurányi Inkubátorház (Jurányi Incubator House)

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. Jan. 25 (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! Jan. 13 (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. Jan. 25

Katona József Színház (József Katona Theater)

For a considerable period, Katona was considered the best theatre in Budapest, and it still holds plenty of prestige. It boasts a number of subscribers, and that often makes buying tickets there challenging. 

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. Jan. 21

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. Jan. 18

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) Jan. 18

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. Jan. 15 (10am), 16 (10am)

Magyar Állami Operaház (Hungarian State Opera House)

The Opera House is finally opening after a years-long renovation project. What they restored is lovely, the new touches are arguably hit or miss. I personally dislike the tromp l’oeil painting of curtains around the proscenium. Also, the seating in the top balcony is especially cramped. It may be worth springing for more expensive seats.

A denevér [Die Fledermaus]  What a great way to ring in the New Year, you might think, with Johann Strauss, Jr.’s elegant Viennese opera.  Don’t fall for the trap! The lifeless direction by Miklós Szinetár sucks every iota of life out of the sparkling piece. The result is flat champagne left out overnight during a rainstorm. Jan. 8, 11, 13, 15

Pomádé kiráy új ruhája [The Emperor’s New Clothes]  Despite an eye-catching moment here and there, this children’s opera, composed by György Ránki, did not capture my imagination. The emperor seems to have no love for clothes besides being bored and needing a distraction. The other characters, especially the pair of swindlers, seriously lack definition. The music is often repetitive and surprisingly noisy (i.e., dissonant). It is difficult to imagine a young viewer falling in love with opera on account of this piece. Jan. 7 (11am), 14 (11am), 21 (11am)

Nemzeti Színház (National Theater)

Fedák Sári [Sári Fedák]  The best part of this one-woman-show about the life of a celebrated Hungarian diva (who lived from 1879 to 1955) is the charming and ebullient performance by Nelli Szűcs. However, the script leaves plenty of unanswered questions and does not delve into the most fascinating aspects of her life. Afterwards, I felt that I had barely learned anything about her. Jan. 25 (7:30pm)

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. Jan. 31

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. Jan. 21, 27

Anyám tyúkja (1.) [Mother’s Hen, Part 1]  Not recommended for beginning language students, but if you are studying Hungarian poetry, there is no better introduction than the Örkény actors’ interpretations of these compulsory poems, staged as though delivered by serious and passionate Communist-era schoolteachers who gather outside a traditional peasant house. It is especially moving for those who grew up with these poems, who feel as if they are hearing them for the first time. As in several other Örkény productions, the incidental music provided by Árpád Kákonyi is icing on the cake. Jan. 18

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. Jan. 22

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. Jan. 25

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. Jan. 24

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) Jan. 18 (7:30pm)

Cím nélkül [Addressless]  Much after the model of Sociopoly, this interactive play divides the audience into three teams, then has them live out the winter months in Budapest as a homeless individual. The actors (Zola Szabó and Mária Kőszegi) are talented and versatile, playing a variety of roles with a narrator to move the game along and the participation of an actual homeless man (Gyula Balog) to keep the scenes authentic. English version also available. Highly recommended! (studio space) Jan. 12 (6:30pm)

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. Jan. 2, 3, 14, 15 (3pm)

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) Jan. 27 (7:30pm)

Solness [The Master Builder]  Director Ildikó Gáspár’s intimate take on this late, enigmatic play by Ibsen is very rewarding. It also features a bold soul-bearing and self-critical performance by Pál Mácsai, the theatre’s manager who is rumored to be reluctant to surrender his post (just as Solness is unwilling to pass the torch to a brilliant young colleague played by actor-director Csaba Polgár). There are some modern touches here and there, some updating; yet, overall, this is a reverent staging of the original. It challenged my preconceptions about this play and left me asking questions, in a good way. (studio space) Jan. 5 (7:30pm), 6 (7:30pm), 13 (7:30pm), 24 (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. Jan. 11

Pesti Színház (Pesti Theater)

A Nyugat császára [Playboy of the Western World]   Director and freshly 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. Jan. 28

Pinceszínház (Cellar Theater)

Hitler ABBA-t énekel [Hitler Sings ABBA]  The third (and unrelated) installment of Sári O. Horváth’s Life Trilogy is a head-scratcher, combining as it does Hitler’s Lebensbon program with a chance encounter between Angela Merkel and singer Anni-Frid Lyngstad. The plot may seem thin, but the actors are engaging and committed. It may be difficult to tell what happens, but the experience certainly sticks with you. Jan. 13, 28

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. Jan. 20, 21, 31

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 Geoffrey, and Adél Kováts shines as the unsympathetic mother, a tragic figure in her own right. Blanka Mészáros, as the heroine, failed to make an impression. Jan. 13

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.

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. Jan. 13

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. Jan. 10 (7:30pm)

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. Jan. 19 (7:30pm)

Pilinszky János és Sheryl Sutton [János Pilinszky and Sheryl Sutton]  Based mainly on a letter correspondence, this piece attempts to recreate the real-life relationship between intellectual Hungarian poet János Pilinszky and black American actress Sheryl Sutton. Here, she nurses him back to health while they chat about various artistic and philosophical matters. Not much happens, not much is revealed, but it could be entertaining if you are fascinated by either of these figures. Jan. 15 (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. Jan. 18 (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). Jan. 26

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. Jan. 30 (7:30pm)

Trafó House of Contemporary Arts

Nagymamával álmodtam [Living the Dream with 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. Jan. 18 (8pm)

Eltűnő ingerek [Vanishing Senses]  This semi-autobiographical play by Andrea Pass deploys a broad array of theatricality to tell the semi-autobiographical tale of her father, a journalist who suffered a debilitating stroke. Not only does it chronicle the effect of his physical collapse on his family, but also revisits scenes from his life as his mental capacities disintegrate. The performances are striking. Not all of the onstage effects succeed, but the ambitious storytelling is awe-inspiring. Jan. 19 (8pm), 20 (8pm)

Újszínház (New Theater)

Bizánc [Byzantium]  The Fall of Constantinople (conquered on May 29, 1453, by Sultan Mehmed and his Ottoman army) is the setting of Ferenc Herczeg’s classical play, but director Viktor Nagy has mixed success in his attempts to make it topical. The actors deliver the long flowery speeches with appropriate passion, but they fall short of resurrecting the epic, romantic style. The best reason to see Bizánc would be out of academic interest. Jan. 28

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 theatre’s manager, György Dönner, who cast himself as the clever cardinal protagonist. Jan. 14, 15 (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.

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! Jan. 23 (8pm), 24

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. Jan. 16 (8pm), 17

A demon gyermekei [The Devil’s Children] The focus of Béla Pintér’s one-act is once again a miserable family, only here the household tyrant is the mother (played fearlessly by the author). Plenty of gender bending (for example, Zoltán Friedenthal’s excellent portrayal of Mónika) and a Japanese setting keep things interesting. The resolution, however, seems rushed, leaving us wishing for more. Jan. 26 (8pm), 27

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! Jan 25 (8pm)

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. Jan. 11, 12

Vérvörös Törtfehér Méregzöld [Blood Red, Broken White, and Toxic Green]  You may experience this Béla Pintér piece as a sci-fi extrapolation of our recent 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. Jan. 28

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. Jan. 14

A kastely [The Castle]  In this slapstick adaptation of Kafka’s work, some of director Viktor Bodó’s usual craziness is on display. Some bits seem over-extended, and he brings in his trademark fascination with drug use. Still, the show is quite accessible, the set and video effect are striking, and Attila Vidnyánszky, Jr.’s performance is nothing short of acrobatic. This version is not sentimental. It has an Eastern European sense of acerbic bitterness. Plus, the protagonist K is already degraded and emasculated at the midway point. He has nowhere to go but down. Does he finally reach the castle? It is arguable. The concluding scenes ring deliberately hollow; yet, there is beauty here. If it is all a delusion, it is a seductive and appealing one. Jan. 7, 8 (2:30pm), 25, 26

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. Jan. 12, 13

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 quite 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. Jan. 3 (2:30pm, 7pm), 4 (2:30pm, 7pm), 5, 15 (3pm, 7pm)  

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) Jan. 13 (7:30)

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 ordered 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. Jan. 24 

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. (studio space) Jan. 11 (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. Jan. 18

See you at the theatre!