Reviews of Dada Cabaret
"Maladype Theater delighted the admirers of the arts and theater with a special performance. Dada Cabaret has everything that is and that is not dada. History, painting, and a form of lifestyle are combined with theater in an authentic and entertaining way for two hours (...). "
"(...) Well-structured in its dramaturgy, the play enchants its audiences with surreal inserts and funny elements. Thus, it supports complete transformation, allowing everyone to feel as if they entered into another world.”
Dalma Peregi, The Rise and Fall of Dadaism in Two Hours (excerpt9, Súgópéldány, 2016.
"The pursuit of novelty, the consciously executed, unconventional experimentation are familiar trademarks of Maladype Theater. In their latest performance, Dada Cabaret, company head and director Zoltán Balázs feeds secret ingredients with precision as a true chef (...)."
"(...) Zoltán Balázs plays with the various possibilities offered by the genre with ease. While each moment brings entertainment, the play also holds a mirror to society’s sore times. However, during the cabaret, all is good, nothing really hurts; the uncomfortable questions only arise after the performance: have we really become friends with Lenin? Are we his partners in dying? How many cataclysms will we have to take part in from the safety of the whorehouse-revelry?”
Emőke Sárosi, Dada-soup from Maladype’s Kitche (excerpt) Kútszélistílus, 2016.
“The performance is dense, complex, and rich in detail. Zoltán Balázs selected components of the play with his characteristic awareness of being a manager-director. He paired the intellectual text with the stunning stage and musical performer, Gábriel Gábor Farkas and his orchestra; Zsigmond Bödők’s (Tristan Tzara) light and sweeping energy; the female choir’s three character actresses (Ágota Szilágyi, Erika Tankó, Kata Huszárik); Erzsébet “Lenin” Kútvölgyi as a metaphysical counterweight on stage; and a little bit of Brechtism. And he doesn’t want to say anything or send a message with any of this – however, as opposed to the self-definition suggested by the play, this is not a Dadaist work: it wants to affect and does so in the process.”
Máriusz Takács, Dada of the Future (excerpt), kultifilter, 2016.
“Zoltán Balázs makes a kind of theater I also believe in strongly: a theater that lives in the today. This is possible because he takes a road of both research and authenticity. There’s no surplus, no formality, nothing that would not be found in our thoughts and ponderings woven for a long time. It is a special encounter of elements that unite in elegance and harmony. I am mesmerized by the naturalness of movements, the originality of ideas and how these are put into practice, the sharpness of observation. Walking along these simple guidelines, we get to a particularly complex world with goal-oriented and explored depths. A road that gets constantly reinterpreted and one that is constantly on the search without compromising healthy standards. With Maladype, one might experience a theater that you want to see over and over again. It is a full and complete experience and once you were a part of it, then it is difficult to desire anything else. Once you breathe fresh air, it is hard to breathe in the smog.”
Daniela Magiaru, Interview (excerpt), műút, 2016.
"(...) Well-structured in its dramaturgy, the play enchants its audiences with surreal inserts and funny elements. Thus, it supports complete transformation, allowing everyone to feel as if they entered into another world.”
Dalma Peregi, The Rise and Fall of Dadaism in Two Hours (excerpt9, Súgópéldány, 2016.
"The pursuit of novelty, the consciously executed, unconventional experimentation are familiar trademarks of Maladype Theater. In their latest performance, Dada Cabaret, company head and director Zoltán Balázs feeds secret ingredients with precision as a true chef (...)."
"(...) Zoltán Balázs plays with the various possibilities offered by the genre with ease. While each moment brings entertainment, the play also holds a mirror to society’s sore times. However, during the cabaret, all is good, nothing really hurts; the uncomfortable questions only arise after the performance: have we really become friends with Lenin? Are we his partners in dying? How many cataclysms will we have to take part in from the safety of the whorehouse-revelry?”
Emőke Sárosi, Dada-soup from Maladype’s Kitche (excerpt) Kútszélistílus, 2016.
“The performance is dense, complex, and rich in detail. Zoltán Balázs selected components of the play with his characteristic awareness of being a manager-director. He paired the intellectual text with the stunning stage and musical performer, Gábriel Gábor Farkas and his orchestra; Zsigmond Bödők’s (Tristan Tzara) light and sweeping energy; the female choir’s three character actresses (Ágota Szilágyi, Erika Tankó, Kata Huszárik); Erzsébet “Lenin” Kútvölgyi as a metaphysical counterweight on stage; and a little bit of Brechtism. And he doesn’t want to say anything or send a message with any of this – however, as opposed to the self-definition suggested by the play, this is not a Dadaist work: it wants to affect and does so in the process.”
Máriusz Takács, Dada of the Future (excerpt), kultifilter, 2016.
“Zoltán Balázs makes a kind of theater I also believe in strongly: a theater that lives in the today. This is possible because he takes a road of both research and authenticity. There’s no surplus, no formality, nothing that would not be found in our thoughts and ponderings woven for a long time. It is a special encounter of elements that unite in elegance and harmony. I am mesmerized by the naturalness of movements, the originality of ideas and how these are put into practice, the sharpness of observation. Walking along these simple guidelines, we get to a particularly complex world with goal-oriented and explored depths. A road that gets constantly reinterpreted and one that is constantly on the search without compromising healthy standards. With Maladype, one might experience a theater that you want to see over and over again. It is a full and complete experience and once you were a part of it, then it is difficult to desire anything else. Once you breathe fresh air, it is hard to breathe in the smog.”
Daniela Magiaru, Interview (excerpt), műút, 2016.