Mari Törőcsik performs her greatest role since her illness, in Budapest. She performs Marceline, the main character’s mother, in The Marriage of Figaro, in the excellent performance of Maladype Theatre, in Sándor Zsótér’s staging.

Mari Törőcsik can outstands in the performance that way, she can fit into it perfectly. Now, as Figaro’s mother, as Marceline, her performing style is different from the actors’ styles of the Maladype Theatre, in the performance of The Marriage of Figaro.

She is louder than they are. Sometimes she shouts so much, that she almost breaks the intimate walls of the comfortable flat theatre on the Base of Maladype. She performs an old lady, whose blood is wild of love. She cannot stay calm. She feels the order of blood, but she does not know that she falls in love with her own lost son, than at the end of the well-known story comes the sobering recognition. Many times, she moves restlessly. She moves on and back. If she stands still, the incredible tension can be felt on her. She stressed some words so much, she moves on the edge of mugging, as she would get there from a market comedy. But meanwhile she always takes care of the others, she does not play off anybody, she has her own charm. Sometimes she is very nice. She is graceful on high-heels. She pulls her mouth into a graceful smile. She performs, what we have known, in spite of the fact that years have passed, the desire has not died, it can be eternal, it is not only funny, but it is very serious,, and the unfulfilled desire can be tragic or even tragicomic, as István Örkény wrote it perfectly in the Catsplay.

Most of the characters are moving like jumpers. They are driven by eager and unfulfilled desires. Count Almaviva, who is performed by Ádám Tompa, cannot get bored with the female gender. He always wants graceful affairs. He is a comic Don Juan. But he uses not only his charm but his power too to reach the aim. He gets drunken. He cannot see over his nose. He shows us, that how much we can lose our head. Even Figaro can, who is clever, and who makes beneficial tricks, and sometimes acts because of natural jealousy and anger, as Ákos Orosz performs him. He is naughty and clever at the same time. He falls into despair, but his brain works on, when he learns that the count wants his bride, Suzanne. At the same time, his eyes shines with malicious pleasure, when he finds out a complicated trick against him. He acts actively, moves back and for as everybody else does it.

We are sitting in a room, the chairs for viewers have been put into four groups, the actors are performing in the middle and around us that way, if the drive of the performance needs, they are even running, as much as they have place for it. What they do, is not false even close to us. The shouting does not become annoying, as it is driven by real anger, as well as the hot gestures too. The performance is moved by student-like energy and joyful cheerfulness, as a great amount of always-moving student would do naughty things with exploding pleasure, happily and widely. Meanwhile there are some great silent moments too, when the Countess’ pain, who is performed by Judit Kovács Ligeti, can be almost touched. Her white face becomes even whiter, gracefully her whole body is shivered, almost any voices can come out of her mouth.

Sándor Zsótér, the director can runs the comedy machine with many humour, that it makes my stomach tightens sometimes. Than a few minutes later, I can laugh wildly. Anyway, as in the case of good clowns, we have almost always the possibility, that a drop of tear comes down on our face. Erika Tankó, as Figaro’s bride, as Suzanne, can keep her position even in the seemingly most dangerous situations. She is beautiful, clever and steadfastly loyal, those are the real bad ones, who can think bad things of her.

In this performance, there are not any real mean and fierce people, as in the case of the performance, which was staged by Zsolt Anger in the Figura Theatre in Gyergyószentmiklós, so Figaro acted as a so-called free fighter. Anger, in a calmer performance in the Vígszínház, as the main character, can tell his monologue with confused rebellious anger. The troupe of Maladype Theatre believes that good days can come after bad ones, and sun light can stay for a while. However, Zoltán Lendváczky gets into the role of more angry characters, but none of them is incurably malicious. The shy Chérubin, who is performed by Zénó Faragó can get married with Kamilla Fátyol’s young and vivid Fanchette. Marceline, who finds her son, returns back to Zsolt Páll’s doctor Bartholo. Seemingly, there is spade, hoe, great bell, happiness.

But in the end Figaro cries with nervous excitement, that he will not let his wife and wealth after all these. And with it he states, that the whole confusion can start again any time, we are ready to go around or domineering any time.

Gábor Bóta, Népszava, 2010

(translated by: Veronika Fülöp)