Director Zoltán Balázs, who comes from the world of alternative theater, takes everyone to the top. At the Budapest Operetta Theater musical Nine is truly counts as a blood refreshment.

Not only were the actors “squeezed out” by the leader of the Maladype Theatre, he also worked the seamstresses well above average. The actors of the three casts got different costumes to match everyone's personality, the clothes were designed by Anikó Németh. Probably no production has needed that much costume here yet. With their cavalcade of colors and shapes, they would garner recognition at any prestigious fashion show. They immediately create the lifestyle that Fellini's masterpiece 8 and ½ radiates from itself, based on which musical Nine was written by Arthur Kopit and Maury Yeston. On the other hand, Éva Szendrényi's set does not transmit the Mediterranean world, which swells with life, the stair system, which keeps the actor in check, can be said to be Prussian. The movement becomes limited, the actors have to pay attention to their inner energies and their partners. This is frighteningly static for me in the first quarter of an hour, but then it turns out that the wooden-colored podium system, with its colorful clothes and the characters becoming more and more alive, allows for amazing boards and revue pictures.

The Film is autobiographically inspired. The aging Fellini, obsessed with women - Guido Contini in the play - is afraid of burnout, trying to get inspired again, to put his life in order. Attila Dolhai shows the struggle, the torment of the work, and shows the masculinity, together with the sex appeal of talent. Flóra Széles plays a wife who revoltes over her neglect. Petra Gubik is the demanding lover, Nikolett Füredi is the muse who also demands her own. Bernadett Vágó's journalist is not left cold by the man, who would foam life and work with them, but he feels that it is not going the way it used to. The net sequel to the foaming of life is the scene set in the famous Folies Bergere nightclub. Although there is room in front of the stairs for the more and more sensual dances choreographed by András Szöllősi, almost every corner of the stage is filled with the large cast and the magnificent costumes. Toulouse Lautrec, the painter of nightclubs, would also envy this abundance.

As the star of the club, Ágota Siménfalvy comes out in front of the rivalry and flirts with the men sitting in the auditorium. She addresses someone seductively, makes striking, sneering remarks at the answers she receives. These are full-blooded acting manifestations, of which there are relatively few can be seen. The prose scenes are not always overheated, nor is their atmosphere rich. Then comes the songs and dances, when everything shakes up again. As the mother of Guido, Zsuzsa Ullmann sings with painful beauty. The child is played by Botond Devich: he is eagerly curious, devouring this strange, busy world with his eyes. Anna Peller’s prostitute, with her irresistible femininity and unbridled energy, almost blows the stage. Under the conduction of Tamás Bolba, the band is in explosive form throughout.

It was a pleasure to see that this time everyone gave their best in a production that was unusual within these walls. The premiere audience honored the remarkable performance with applause and standing ovation.

Gábor Bóta, 168 Óra, 2021

Translation by Zsuzsanna Juraszek