It’s not even a crooked night. It’s a completely shabby evening, or to make it more salon-like, a ruined soirée, although no one from the occasionally squabbled company can salon here either at the beginning or at the end. Specifically, by the end, everyone would be drunk, although if it weren’t, they would have a minimal chance of understanding each other, or at least enduring it.
This is not the best play of the popular Israeli writer of Hungarian origin, Yasmina Reza, nor is it the deepest performance in the repertoire of the Pest Theater, but it is good for revealing the banal impossibilities of our everyday life. The fact that Boris (András Stohl) has been a lover for four years is not an impossibility, it is just banal, as it is a big word for both of them, especially Andrea (Csilla Radnay), that after a long time they have a whole evening “Their affairs” (let’s say there’s a restaurant toilet instead) but in an elegant restaurant with only the bibi that the place was suggested by Boris’s wife. Of course, Boris doesn’t realize how much of a gas it is that he hasn’t put in so much effort to seek advice from at least someone else when he himself can no longer find a good place for his girlfriend who has persevered in this unworthy situation for four years.
It seems that András Stohl is reminded of the typical misfortune of any director who has been cheating on his wife lately,
what the Bella figure even adds is that it’s not enough to cheat, it’s not enough not to put too much energy into your loving relationship, but even in business you are completely ruined, it should soon be bankrupt due to his failure, the bank payment deadline is approaching dangerously, he has a mortgage on his house, his only property, which he does not dare to tell his wife. Given the history, why dare you?
The evening turns out to be, quite by accident, going to the same restaurant where Boris’ wife’s best friend and partner are, which they even develop by beating the mother-in-law on the way there.
But the French are civilized, and when that happens, they invite each other for a drink, although Françoise, the wife’s girlfriend, is very embarrassed by this scene, in fact the most embarrassing for her. On the verge of total material and emotional collapse, Boris is no longer very interested in this, Françoise’s partner, comme il faut, who is exemplary in his care, is polite and gentle, wouldn’t you know these neither meat nor fish figures? – why have a say in the other’s life?
It is a question of how much one who does not intervene in the life of the other, whether he intervenes in himself, or how much he infuses as a character in the social shackles of compliance for all.
The evening is actually a one-act loose comedy about how we don’t know what to do with each other, how different we are, and how banal yet impossible it is.
I miss the depth of the piece, the refined dramaturgy, the one (two, three) bigger stakes, of which Ferenc Török’s dynamic arrangement tries to make the most of it with the colors and rhythms of a fast-paced evening. After ten years, Patrícia Kovács returns to the Comedy with this role. the divine-throated chinese doll brings out the naive, as she did with her co-directors’ X-th, but sees a woman who is struggling with hopelessness, despising open provocation and behavioral derailment, and even explicitly enjoying the resulting situations, who is a caring mother (or, because of this unbalanced situation, she has lovers), yet she is lonely, as she has been watching for four years now for someone she loves undeservedly, where she is vacationing with her family during the summer vacation, and not just tonight to be left alone.
There will be interesting conversations, or rather half-dialogues, during the evening, but perhaps the most elementary discovery is that not always those who are merely lovers and can only meet in secret, but also those who have been studying for years in these sharp situations, as Éric says they test each other, but in some cases, and enough for such an impossible night to add, their relationship indicator doesn’t show the right color.
And the senile mother-in-law, who already shows the signs of dementia and gives the situation comic to herself, would like to see Andrea, the lover, who is a stranger to her own witch at first sight, in which, of course, she has a self-interest, because Andrea is a pharmacist, so she can hope to have easier access to pills that cure all sorts of ailments.
Judit Halász balances on the extremes, if she continued Yvonne’s senility with a single shade, it would be confusing.
Based on the announcer, we expected more from the performance, not even the real stakes, or the drama, whether the best girlfriend is obliged to report on what she has seen and heard, because on the one hand everyone gets drunk, and on the other hand the best girlfriend and wife do not show up. color.
On the evening of November 18, József Wunderlich was replaced by Bence Brasch, who was excellent at the annoyingly well-combed, always well-behaved, all-in-one situation, spitting the lukewarm in the role of a gentleman. As we look at her Erice, we would rather be a historically inclined wife, an openly provocative, sometimes almost orderly, old woman. Even if everything crashes.
Directed by: Ferenc Török
(Cover image: Csilla Radnay, József Wunderlich, Patrícia Kovács, Judit Halász and András Stohl. Photo: Eszter Gordon / Comedy Theater)