The elegant pink flamingos fill the stage in groups. Between them the elegant actors-dancers are sitting on thonet chairs. Four wonderful women in black, pure dresses, four men in white shirts with black ties. For different music – from the pop music through jazz until classical one – they are getting the rhythm, they immerge into common games, they lighten nicely erotic sparks with childish innocent, playful movements to show the games of owning and leaving.

Who gets from whom? Who can get the best position for themselves? Who and how can raise the others’ interest? In the performance everything goes around the egg. They dance and perform with them, throw them, they aim the others with it. Who and how will reach the others? The egg is a fragile toy. If they do not use it carefully enough it will break immediately. It does not just symbolise the beginning of life, but it can be the tool for two people to get closer to one another. As the couple, who is laying on the ground, blowing the rolling eggs, with their hot breath get closer to one another too. The hell of the egg, which is hard outside seemingly, but in reality it is very fragile, it symbolizes the fragility of our soul.

The flamingos are chasing around the chairs, the actors are throwing the eggs to one another, and we, the viewers try to follow the free chasing. We turn our heads, try to follow it, who moves where on the stage. When an egg “breaks” accidentally and its yellow part flows around on the stage, the small, colourful baskets are there by hands. The actors clean up after themselves the rubbish and all the tricks, sinfulness, which they have committed. Sometimes they give the eggs to one another that way, they do not even use their hands. The desire towards physical touch, the fear of the passion can ruin everything. Then suddenly they offer the eggs to the viewers, as an offer: let’s come and play with them.

The women, who are competitors of one another, try to raise the men’s attention with different tricks. They suddenly fall down the chair, they show poses with many meanings, they light a cigarette temptingly and blow the smoke provocatively. They put on new, colourful dresses asking for help from the men. Finally each woman tights and owns a man to herself. A couple has a fabulous circling dance in the middle of the stage, until they fall tiredly. The men take the women on their shoulders, and uses the half-naked bodies as the string of a guitar. They close into their laps the female bodies that fall from above, hold them. Then, when women need help, they push them away. The men forma pavement from their bodies and a woman cruelly steps through on them, while she is going towards her destination. The men play masculine games. During the sport-like exercises from the flamingos they make football or handball goals. The women are watching them, and support them. Like a magician between his hands with the hells of the egg, the actors are pushing that way the chairs on the stage for the last tones of Bolero by Ravel, to show the relationships between them. The flamingos become voyeurs, the barriers and the birds symbolize the connection.

The scale of colours of the movement theatre of Budapest, in Zoltán Balázs’ performance goes from the playfulness and jokes, which captivate the viewers, until the sensitive expressions of human soul. In spite of the performances, which are tiring physically and make the actors work technically, from the actors come the joy of playing all through the performance.

Zuzana Perůtková, rozrazilonline.cz, 2009

(translated by: Veronika Fülöp)