"...for this is how we play football: without hope or glory, but at least we don’t pretend not to know what is happening here, that behind each pioneer there is an empire, tanks, Gulag, Afghanistan, and many, many unuttered compound sentences."
Writer-director-actor Béla Pintér occupies a unique role as impressario in Budapest's alternative theatre scene. His signature blend of music and movement, traditional and modern theatre techniques makes each of his one-act shows an unpredictable and memorable experience.
A middle-aged husband unable to provide for his wife and mother-in-law after the local meat-packing plant closed down decides to commit suicide. An infotainment show host arrives to sign a contract whereby he will do it live on television.
Viktor Bodó claims to have used György Petri's translation of Molière's Don Juan for his new production staged in the Katona József Theatre, The Great Sganarelle and Co. Yet it seems as though Don Juan merely provided the original inspiration for Viktor Bodó to set about transplanting this mythic figure to a modern urban setting.
Everybody who knows something about football (and that’s about two billion people) knows that Hungarian football is dead. It didn’t die just now—its condition gradually deteriorated, and in the end it didn’t even recognize itself in the hospital—but on this day it has been pronounced clinically dead.
After a certain number of performances, a production takes on a life of its own, and the critic is unable to review it as an isolated night of entertainment. It has become a continuum, an institution, evolving over time as a living creature would. Such is the case with Zoltán Egressy's two plays.