There are eight Thonet chairs between thirty pink flamingos. There are girls, who are changing their dresses and boys, who are putting down their dresses between the thonet flamingos, the flamingo chairs. They are trying out themselves, each other, and the others. There is girlish and boyish curiosity before the international history and joyful smile on the eight faces, and there is continuous restlessness which is composed into movements in the area, mostly followed by Ravel and obviously with the Bolero at the end.

As four Adams and four Evas are still flying in the paradise together with the birds. they are crying together with the monkeys, they are sliding together with lizards, and they are falling together with the drops of rain. The human and animal kindergarten of the paradise becomes a garden of children by the Egg(s)Hell, by Sándor Weöres one-word long well-known poem. The Maladype and Thália Theatre promise a breath-taking common performance without words, but some names, inviting words, informative crying, onomatopoeia leaves the mouths (probably all of them are useless). It is a wonderful teamwork by Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Katalin Simkó, Zoltán Lendváczky, Ákos Orosz, Zsolt Páll and Ádám Tompa: it is a one-line long theatre, sometimes with flourishing repeated patterns of lines. Without any concrete stories it is substantially epic, it is a scale of scenes, which talk about ancient patterns of behaviour and relationships, its choreography is sensitive, it was born in the director’s, Zoltán Balázs’ head, will, nerves, who is drunken by dreamy fields, but he is perfect, in order to make the members of Maladype live it, circle it around, fall, slide into mud, into gold, into muddy gold.

The awkward nature of description can just sign, how the searching for places, the changing of it, the getting of them and their hurry can pervade in more “scenes” the tireless enthusiasm of the troupe, who are sitting from chairs to chairs, hurrying, and arriving, and how the many types of game, which they do with the chairs, can bring together, chase away, turn against one another, organise into union, strike and the rhythm of the body, in connection with the eight actors on the rhythm of the music. The graceful, exotic flamingos, the birds of the set by György Katus – they lean their graceful necks towards each other in a quarter of a circle, in wedges, in easy waving lines – they form playing partners, and arsenal of toys behind, next to, under them to save those, who are hiding under them. (They are pushing many times the creatures, standing on round black bases, as children are doing it with lead soldiers, who are playing war.)

The egg, which is the symbol of origin and expresses it too, it is equal with them and the chairs, but it has a very important and different role as property. The cigarette is similar to egg, which expresses the narcotic excitement of modern life-style. They put into their mouth not only the cigarette but the chicken egg too, the performers kiss them into one another’s mouth: they caress the form, they transmit the food and poison too. The silent song of kiss flies from mouth to mouth, the baton of eroticism is running, however neither the half nakedness of the changing of clothes, nor some (the more direct reference to the nighty euphoria, pleasure, fertility) some settings cannot step out of the frames of aesthetic nature of stage, which is sophisticated and vivid, it cannot get out of the hall, which is drawn by the lights of the column- and dome of the background wall.

Here are some pictures just to show: a boy and a girl are blowing an egg, while the irregularly rolling forms have not come together between the legs of the tall flamingos on the stage. Both of them have different reaction to it (the wild experiment of the blowing of ostrich eggs has been started too); those who are blowing the eggs, look at each other deeply while they are laying on the ground. Opposite to the games, which are about the saving of the eggs, there is a game about the breaking of them – it has rougher and more materialistic effect too – it is the two boys’ arm wrestling: they measure the strength of their arm while they are laying on the ground (maybe for a woman), between the two palms there is the obviously splashing egg. Zoltán Balázs uses just the incredibly moveable notes of eight corpuses for the composition of the Bolero, and sometimes the knocking on the incredibly hard hell of the egg, just then, during the buzzing music of love, he limits the most strictly the touches, the contacts – so that way in the end he can put the grotesque nature of the whole composition into slowly darkened puppet-like movements.

János Breckl easy coloured costumes – with white, black, burning red, cobalt blue, oceanic green, darkened ochre and with the colour of the flamingos – which can melt into the whole gallery as properties; but a piece of hell of an egg can (by accident) become “costume” as a tonsure. The small silent periods between musical parts has separate function (musical colleague: Bánk Sáry). In reality the vison has not got any more serious downturns, the precisely coordinated process can absorb the necessary corrections. Probably they should not forget anyway, that the great masters of dance-and movements theatre know well, why they form much shorter opuses: the hard using of the physique for such a long time (they climb the walls, with imitated falling, with running and moving performance, which is imposing), and the consequences of eighty minutes long continuous soul changing is almost an assassination against the troupe: sometimes it can be seen on the members. The members of the troupe do not protest for sure: they are lost in their own trial of power as much as the viewers are in the sight.

Tamás Tarján, kultúra.hu, 2008

(translated by: Veronika Fülöp)