Budapest Theatre Digest

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

Entries are arranged by theater or venue. All 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.

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. Apr. 4

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! Apr. 13 (3pm), 14 (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 seventh-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! Apr. 5 (6pm), 6 (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. Apr. 21, 22, 23

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. Apr. 12, 13, 24, 25, 28

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. (studio space, guest production from Budaörsi Latinovits Színház) Apr. 11 (7:30pm)

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? Apr. 12 (4pm, 7pm), 16 (3pm, 7pm), 17 (5pm, 8pm), 18 (5pm, 8pm), 19 (5pm, 8pm), 20 (5pm, 8pm), 22 (3pm, 7pm)

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) Apr. 22 (3pm)

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. Apr. 22

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. Apr. 4 (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. Apr. 28

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! Apr. 21 (6pm), 28 (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. Apr. 10

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. Apr. 27

Ascher Tamás Háromszéken [Tamás Ascher in Háromszék]  Béla Pintér's second 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. Apr. 11

Hedda Gabler  Henrik Ibsen’s enigmatic anti-heroine receives a stripped-down, minimalist production here. The stage movement is heightened and non-realistic, but Kriszta Székely (who successfully adapted Ibsen’s A Doll’s House at the same theater) has a very insightful vision of this play. The cast is strong overall, and Adél Jordán throws herself passionately into the title role. Apr. 5, 8, 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) Apr. 2

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. Apr. 23 (10am), 24 (10am)

Magyar Állami Operaház (Hungarian State Opera House)

What is going on at the Opera House? Since the renovation, many have been quick to note how cramped the seats are in the top balcony, and then there was a steep price hike, basically punishing patrons unwilling to pay extra for comfortable seating (a classic example of Piketty economics). Then, lately, there have been a string of premieres that seemed either amateurish in their execution or downright incompetent. The general manager, Szilveszter Ókovács, has proved a good leader in the past, but has he lost interest? Or is he taking on too much? Has he surrounded himself with yes-men who give him no critical feedback?

Elektra  Balázs Koválik’s bold direction of Richard Strauss’s aggressive opera (which premiered in 2007) sets the Ancient Greek tragedy in the castle’s common bath facility. Visually, this kooky idea works well and does not hinder the performers. This outing features some great singers – for example, Atala Schöck as Clytemnestra and Gábor Bretz as Orestes. Best of all, Szilvia Rálik gives a world-class performance in the title role. Highly recommended! Apr. 27 (6pm) [dress rehearsal], 29

István, a király [Stephen, the King]  Octogenarian director Miklós Szinetár drains all that was cool out of the infectious rock musical from 1983. Granted, this account of Hungary’s founder uniting the nation under Christianity played much differently during the waning years of Communism, but here the production lays the religion on thick. The opera singers are badly equipped to handled this style of music, and King Stephen comes off very milquetoast. For better or worse, the pagan rebel Koppány emerges as far more sympathetic. Not recommended! Apr. 22, 26, 28, 30

Parsifal  Every Easter, the opera house trots out this production of Wagner’s war-horse opera. The staging and singers are adequate, the highlight being the psychedelic scene with the flower ladies in Act Two. Yet, this is definitely not for opera beginners. I recommend some heavy meditation or a sedative before viewing. Apr. 5 (4pm) [dress rehearsal], 7 (5pm), 9 (5pm), 14 (5pm)

Pomádé kiráy ú 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. Apr. 15 (11am), 22 (11am) 

MU Színház (MU Theater)

Otthon [At Home]  The Dollar Company’s modern adaptation of Strindberg’s rarely-staged family drama The Pelican fearlessly mines the deeper currents of this disturbing work. The four actors perform in a dance rehearsal room with seating on three sides, while the mirrored fourth wall pitilessly exposes all of their tics and gestures. Instead of being mere evil villains, Tamás Ördög (also the director) and Krisztina Urbanovits leave subtle clues as to what motivates their monstrous behavior. My one small complaint is that Emőke Kiss-Végh seemed too strong and self-aware as the daughter. It is hard to imagine her being a passive victim. Apr. 16 (7:30pm)

Örkény István Színház (István Örkény Theater)

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. Apr. 11

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. Apr. 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. Apr. 5

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) Apr. 16

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) Apr. 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. Apr. 1, 2

Liliom Director Dániel D. Kovács’s modern spin on Ferenc Molnár’s metaphysical tragicomedy (best known in the English-speaking world as the musical Carousel) does not lose sight of the humor, although its conclusion strikes me as more depressing. The after-life sequence can seem corny nowadays, but here it is handled in a surreal way. Nonetheless, if it is all a hallucination, then there is nothing at stake when Liliom returns to Earth to redeem himself. The cast is very strong. Márton Patkos is a good fit for this role, where he can channel his manic energy. He is well matched by Bettina Józsa in the role of his suffering wife Juli. Her controversial final scene is handled very enigmatically. In preserving her husband’s memory, is she acting heroically, or is it a sign that she will never recover from the emotional damage? Apr. 29

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) Apr. 24

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. Apr. 14

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) Apr. 29

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. Apr. 4

Pesti Színház (Pesti Theater)

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. Apr. 23 (5pm)

Macska a forró bádogtetőn [Cat on a Hot Tin Roof]  Péter Valló is no stranger to directing Tennessee Williams, and this new production is certainly over the top. At times, it seems like a violent episode of from the Real Housewives TV franchise. He also shows a strong dislike of closure and clear endings. Both acts end in a bewildering way, like a random cut. Yet, there are also gorgeous stage pictures and simple special effects reminiscent of old-timey theatricality. The entire cast, down to the bit players, pours their energy into the show. Hopefully, in the coming months, they will find the right balance. This production shows great promise. Apr. 12, 15, 30 (2:30pm) 

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. Apr. 2, 20

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. Apr. 10, 11

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.

A 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). Apr. 29

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. Apr. 20

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. Apr. 23 (3pm)

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. Apr. 11 (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. Apr. 27 (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. Apr. 3 (7:30pm)

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. Apr. 4 (7:30pm), 12 (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. Apr. 16 (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. Apr. 23

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. Apr. 1, 2

Bányavakság [Mine Blindness]  The second (and most satisfying) installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania focuses on politics, scandal, and blackmail, topped off with a dollop of ethnic tension and violence. The misery may seem a bit overdone by the end, but Gergő Kaszás is spectacular in the lead role. Apr. 6

Bányavíz [Mine Water]  The final installment of Csaba Székely’s trilogy about modern life for Hungarians in Transylvania is the least successful of the three. While the portrayal of trapped lives is heartfelt (and Andrea Bozó is particularly good as the dotty older sister), the core relationship between the priest and his adopted son is not credible. Apr. 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. Apr. 11

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. Apr. 18 (8pm), 23 (8pm)

Turay Ida Színház (Ida Turay Theater)

A medve nem játék! [Bears Are No Game!]  Perhaps the only reason to see this show is if you wish to understand the góbé stereotype of the Székely ethnic group (Hungarian speakers living in the most eastern region of Transylvania). It also represents a throw-back to folk theatre traditions, but as Csaba Székely’s modern dramas assure us, this is nostalgia for a way of life that has passed or never existed at all. Despite the off-color nature of the sketches, the spirit of this show is staunchly conservative. Traditional folk costumes are preserved along with old-fashioned gender roles – laconic men drink in the kocsma, and the suffering wives toil all day long. Even the Playboy that one character reads is outdated. There is a smattering of song and dance, and Ádám Boros is a clever dancer and narrator. (His delivery, reminiscent of stand-up comedy, owes plenty to raconteur András Berecz.) Still, these strained and hackneyed gags mostly serve to reinforce the prejudices of the relatively older audience. Apr. 8

Újszínház (New Theater)

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. Apr. 21, 22

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.

A 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! Apr. 24, 25

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?” Apr. 14, 15

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! Apr. 20

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! Apr. 5

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! Apr. 3, 4

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. Apr. 6, 7

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. Apr. 26, 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. Apr. 21, 22

A kastely [The Castle]  In this slapstick adaptation of Kafka’s work, some of director Vikto 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 is 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. Apr. 1, 13, 14

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. Apr. 2 (2:30pm, 7pm), 19

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. Apr. 4, 15 (2:30pm, 7pm), 18, 30 (2:30pm, 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) Apr. 15 (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 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. Apr. 20 (3pm)

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) Apr. 4 (7:30pm)

Szeget Szeggel [Measure for Measure]  Shakespeare’s little-seen problem comedy is astoundingly provocative still today; yet director (and the theatre’s manager) Péter Rudolf deploys a bewildering mix of styles, which renders the theatre language incomprehensible. Is this a drama, a circus, a satire, a goofy comedy? Also, his choice to put ‘audience members’ onstage fails to pack a punch. Béla Festbaum steals the show as the buffoonish constable Elbow. Luca Márkus brings impressive pathos to the lead role of Isabella. Yet, the other leads fall short, mostly turning in superficial portrayals. Especially disturbing is Zsombor Kövesi in the role of the comic petty criminal Pompey. While he is clearly a talented performer, he is the only character who speaks with a Roma accent. This is a disgusting choice. Apr. 12, 28   

See you at the theatre!