October 22 and November 12 are special dates for in the Maladype Company: two significant ferfonmances arrived to the 25th performance, the Richard III by William Shakespeare and the Great Sound in the Rush opera by László Sáry. The long-run shows are ordinary in Maladype Theatre: the internationally premiered King Ubu had it’s 100th performance in the United States; the Leonce and Lena had 100 performance as well, the Egg(s)Hell based on Sándor Weöres’s single-breasted poem had been played for 80 times; the Platonov by Chekhov could be seen 40 times. Due to the persistent interest from the profession and the public the Richard III performance directed by Sándor Zsótér participated at the Finalé Festival in Szeged in May and in July at the Shakespeare Festival in Gyula.

Fragments from the perfromance’s reviews:
„Zoltán Balázs is able to fool everybody, or put to death, or turn beside himself for a while. He bears with breath the two hour play, the virtuosity can be felt, he enjoys the role, as Richard III enjoyed the drama set up by Shakespeare, which had no audience but victims.” Zsuzsa Makk

„Zoltán Balázs as Richard doesn’t act out the character’s phisycal errors which is articulated in the well-known first monologue, his Gloster is rather a well stanced royal spring, who doesn’t want to revenge on the nature for his handicap, he decides to become a villain to earn the power and butcher everybody on his way. (...) The result is thrillingly experimental performance, filled with powerful acting.” Csaba Kiss

„The performance uses the translation of Ede Szigligeti from 1878. While the 138 years old text is full with surprising, powerful expressions, it is difficult to follow for an ear used to nowday’s speech., beacause not only the stock of expressions are surprising but the construction, articulation and rhythm of sentences and the rhythm differ from the usual. (...) Zsótér, by using Szigligeti’s translation inspire us to let the language go and follow the gestures. It shouldn’t disturb us if we don’t understand something, because the words are only to srew everybody, and not to get closer to the truth. (...) There is a serious experience behind the soft irony of the show. Zsótér found great partners in picturing this, besides Zoltán Balázs eminently in József Kádas, Zoltán Friedenthal, Kata Huszárik, Balázs Fila, Ágota Szilágyi, but in all the other players as well.” Kristóf Bíró

László Sáry’s Great Sound in the Rush opera is real a success story: the piece was directed by Zoltán Balázs is 2015 for the International Bartók Seminary and Festival in Szombathely, as the coproduction of Maladype Theatre and Qaartsiluni Ensemble. The premiere was followed by national and international tours (Arts House, Kisvárda; Valley of Arts Festival, Taliándörögd; Chamber Opera Festival, Eger; National Theatre, Miskolc; Third Theatre, Pécs; Central-European Theatre Festival, Kosice, Slovakia; Théâtre Saint-Gervais, Geneva, Switzerland; Musiktheatertage Wien, Austria). The performance won the Artisjus-prize for the best classical music piece of the year in 2016, and it will continue touring from 7 to 9 December to Gdansk and Warsaw in Poland. The piece of László Sáry - after the succesfull Theomachia-direction of Zoltán Balázs (with Ilona Béres in main role) - provides again a joyful discovery of Sándor Weöres, the worthy celebration of the composer and the rare symbiosis of contemporary music and theatre for the music and theatre lover audience.

Fragments from the perfromance’s reviews:
As a chronicler I circulate long around the performance without being able to describe what actually happens in the rather small theatre arena. Nevertheless, what happens is so charmingly varied, unexpected, inspired, erotic, comic, human, astounding, that it’s concrete illustration in words is totally hopeless. But I give my word, that the whole show is enjoyable and inpossible to get bored of it.” János Malina

„During the performance the musical piece – I couldn’t find a better word – laces into the space.. This is an acoustic space-embroidery, which borns in front of us. The given sound effects help the „AS IF” feeling, the space games, as the red bird feather is flight by breath, or as a tower is built by piano chairs provides an excitement known from circus. The vision waves and clicks, with and besides and through and under it flyes the music to a devilish precise coregraphy escorting a just born vision’s shivering excitement.” Katalin Gabnai

Next 25th performances:
Richard III: October 22, 2 pm, Maladype Theatre, 1088 Bp., Mikszáth square 2.
Great Sound in the Rush: November 12., 7 pm, FMK, Theatre-room, 1096 Bp., Haller st. 27.

"The most important prerequisites of the performance are mirrors (stage design: Mária Ambrus), which show different reflections of body and soul. The latter is almost unknowable in the world of the performance, the first is present in its brutal reality. (...)

The smart staging of Sándor Zsótér rolls the story, defeating the scenics of the apartment theatre. The Maladype performance is like a fresh flower planted on a dung-hill, its extremes are the most exciting.”

Szabolcs Szekeres, ART7.hu, 2017.

"Maladype Theatre has its own round of audience to experiment with styles and tools. In The Balcony, with the help of Sándor Zsótér, the performers take all the opportunities to push the envelope of both the Genet-play and the audience."

Viktória Mátyás, Súgópéldány, 2017.

"Zsótér’s The Balcony is for people who consider theatre as an intellectual play and don’t mind if a performance involves more than just gazing on the changing of spectacular pictures, but instead, enjoy watching actors in a relatively small space with minimalistic stage design (Mária Ambrus), with only a few prerequisites, playing unusually difficult role switches. The actors know well who they play, but for the audience, in the end, reality and imagination really start to mingle."

Zsuzsa Makk, Mezeinéző.blog.hu, 2017.

“The interpretation of Sándor Zsótér shows us with lazer precision the genius of Genet’s work, the importance of the identity-strengthening function of playing and changing roles. (...) this performance is a milestone in the Hungarian line of Genet interpretations. And it is almost a miracle! that this can come to life in the 15 square meters of Maladype Theatre. ”

Fehér Elephánt, 2017

“The coproduction of Maladype and Gyula Castle Theatre is a brave undertaking, pointing to an up-to-date concept of theatre with an original attitude, breaking the boundaries of routine, a poetic text, a smashing spectacle and original music. After the chlorinated tapwater of Budapest, Gyula’s water is refreshing. “from clean mountain springs.” with a full glass!”

Fehér Elephánt, 2017.

“We find the sensitivity of Zoltán Balázs, the fully-fledged talent of the Maladype actors, a composer who pays close attention to the vocal range of singers, the costume designer’s, Anikó Németh’s humor with biedermeier-shaded eclectic style on one side and the demands of the global theatrical market on the other. I believe this anciently puzzling, post-biedermeier performance with its pyramid-like Acropolis with four (probably folding) staircases has great chances at festivals.”

Tibor Balogh, Magyarteatrum.hu, 2017.

“Zoltán Balázs saw it clearly that huge spaces are not necessary to visualize the fight between the Selves. 15 square meter​s were more than enough to let the audience follow the storyline, which unfolded not too didacticly, but with a​ ​truly promising directorial concept.”

György Fodor, Gyulai Hírlap, 2017.