King Ubu is the touchstone of modern theatre, during the period of great Krakow-walking we could see at least six versions of it, the latest time in the Secret Flat, which can be found above the legendary “The Á mustn’t be”, we are sitting wild by spicy tea between the mountains of unsent newspapers of Newspaper Publisher Company. The characters are recklessly slipping and climbing between the piles of newspapers, they are doing so-called macula tours, while they are fulfilling the whole programme. But how many things those loads of newspapers can be used! They can form moustache, beard, hat, they can dress up and cover, they can be cut by scissors, they can be torn fast, so they can be eaten with full mouth!

While Papa Ubu is eating the paper dinner, he and the whole company are swallowed down by the bottomless stomach of the paper monster by Kamilla Fátyol.

Zoltán Balázs’ staging overtakes the usual ones a lot: he builds his troupe consciously from performance to performance, all of their performances are a final exam of a term in university – he brings up the actors’ creative power, he writes script, but the parts are written by the actors. And what a perfect string quartet play music here! By the cello, Zsolt Páll performs the granite base of the volume of a czar, but meanwhile he is performing the teenager Boggerlas too nicely and his other seven roles – Ádám Tompa looks dully on his viola, he is the Peasant, the perky knight of Captain Bordure, King Wenceslas, who is crowned in a dental way and he talks lispingly. Next to her brutalist husband, the enchanting Mama Ubu is a second violinist: Zoltán Lendváczky can certifies without any funny patterns, with total transformation. He does not give up his male nature, which he can use well as a BloodyBear.

The primary, the First between the Equal Ones is Ákos Orosz, his figure makes Jarry-land the world of the ten thousand gag. For all his words, he has a gesture, for all his movements his mimics doubled, he supports Papa Ubu with excellent agility, he is grotesque and naughty absurd. He sparkles with uncountable liveliness, dug up until his waist in half a square metres – he breaks and ruins, destroys and humiliates, he gets hits too – he stands against them in a heroic way the viewers do against the endless lines of brilliant jokes too.

We guarantee that all performances will be different, the performance is a fiercely pulsating living creature, which can fulfil itself during continuous improvement, changing. Let’s put the Polish flag with an eagle with two heads on the top of Maladype Base, the Papa came, saw and won, Ubu: - He has become a King!

White Elephant, Kulturális Ajánló, 2009

(translated by: Veronika Fülöp)