The latest performance of Maladype Theatre is The Marriage of Figaro, a comedy by Beaumarchais. The place of the performance is the Maladype Base on the Mikszáth Square in the 8th district.

The place is the main room of a civilian flat, it can basically define Sándor Zsótér’s staging. The whole performance is going on between and around the viewers, who are sitting on four separated parts of the room. There is not any place for the sets, properties, so that way, without the help of objects, from outside, the actors have to draw the characters’ personalities and lives, more concentrated, relied only on themselves. The costumes, which Mari Benedek has designed for them, can help them a little, as they are not just beautiful but they can characterize their owners too.

The story, for which Mozart composed music, is well-known from the opera stages, but the original play also appears sometimes in our theatres.

Count Almaviva (Ádám Tompa) – the leader, who has administrative and judicial power too – has bored with his marriage and by using or abusing his power, he goes around all the women in his surroundings. Some of them successfully, but some of them less successfully. For example, Suzanne (Erika Tankó), the Countess’ maid, who is Figaro’s (Ákos Orosz), the Count’s servant’s bride. Cherubin, the squire, (Zénó Faragó), loves the young Fanchette (Kamilla Fátyol), who is the Count’s lover. But Cherubin loves the Countess (Judit Kovács Ligeti) as well, who suffers from her husband’s cheating and jealousy. Marceline (Mari Törőcsik) as an important character of the play, the old woman, who remains alone, who had a son in the past from doctor Bartholo (Zsolt Páll), with whom they hate each other. But she would like to, even with blackmailing, get as her husband, the much younger, handsome and ready to act Figaro, who is ready to do anything to protect his bride’s, Suzanne’s morals, against the Count, who is ready to cheat him.

All these conflicts will be solved by the end of the performance, with the help of misunderstandings, changings of dresses and roles. During that much running, rush, comic of situations and characters, we can know the characters better and better. The ruthless count, who is merciless, cruel to the others, is jealously sensitive to his honour as husband. The Countess loves her husband, she is loyal to him, but she is touched by Cherubin’s young age and desire. Figaro, who wants revenge, knows with his common sense, with his tactical senses can mix the lines form tricks to tricks. The beautiful and clever Suzanne is his worthy partner in it (too). Antonio, the gardener also helps to confuse things and Bazile, the music teacher as well (Zoltán Lendváczky).

The guest star, Mari Törőcsik shows Marceline to be a rather loud, rude, evil and mischievous, sometimes fussy and sarcastic, wilful and greedy, naughty and cynic, old fashioned but that kind of old woman, who can be elegant. During her great monologue (which is deleted from many performances), we can laugh loudly, we laugh at her greediness, with which she desires a young man. Then during a blink of an eye, a woman is standing in front of us, who has very tragic fate, broken by life, unsuccessful, a woman, who is pitiful. And then, tears can flash not only in the actress’ eyes but in the viewers’ too, then after another change, after a few moments, the frozen atmosphere of the psychological drama can become comedy-like again.

The misunderstandings have been solved by the end of the performance, the conflicts have calmed down, everybody finds their partner again, or find a partner. The viewers can leave their seats with the memory of cloudless entertainment. And just later, on the street, we can go on thinking about the play, and realise that great amount of humour, comedy-like situations, during laugh, some gestures, movements, flies, getting down, caught flash of eyes, fast kisses, which are given probably (maybe not by accident) to other, than who they would like to give originally. These can indicate that there is a deep confusion of feelings under the surface.

The count apologises for his wife, but we know that he is going to look for new adventures soon. Her husband now returns to the countess, but we know, as well as she does, that their marriage will not have a bright future: it will become a boring relationship without love. Cherubin gets Fanchette, to be his wife, who has been the count’s lover, and probably remains then too. What kind of marriage it can be? How long can the countess stand up against Cherubin’s siege again and again? Figaro and Suzanne can get married, but it is obvious, that the count would not give it up, he will siege the maid on. It is only question of time, that when he reaches his aim. How long can Figaro be safe? Marceline has found her son, who was thought to be lost, Figaro, and get her son’s father, Bartholo, who she hates, to be her husband. How sure supporter can her husband become for her old days, who hates her, and her found son?

The troupe of Maladype, in Sándor Zsótér’s staging, seemingly shows only the comic surface, meanwhile it makes us see the whirling questions, lying in the deep. What has been solved here anyway? Which conflicts have calmed down? How will these figures live on their lives? Anyway, we have to answer these questions alone. Or maybe another Ibsen, Chekov should come to write it.

György Gold, Szabadidő Magazin, 2011

(translated by: Veronika Fülöp)