Don Juan does not exist in reality, he has existed as far as he has given power, as far as he is allowed to exist, as far as we have believed in him. And if this Don Juan knows something very well, than that is the fact that he can make us believe that everything exists that way he tells it. He never tells lies, so he does not lie that way, we believe lies can be, he never tells anything, which does not exist into our eyes, he is cleverer than that, he better, he knows people in a more instinctive way: he always refers to some upper interest, to something, which cannot be accepted or understood. If we like something very much, this is it: something beyond the earth, we can keep our soul in some religious belief, flirting with salvation, piece, good will, with the idea of good life. Meanwhile we believe strongly that belief can solve all our problems. It is not a miracle: Bertolt Brecht’s revised Moliére’s play only on the surface happens on the level of love intrigues: in reality it is strongly and openly about politics, about our life.

All of these happen in a simple and playful place: the wooden floor of the big room of the base of Maladype is covered by a cartoon-like drawing (it is the copy of Salvador Dali Gala and Dali’s painting, In the sky). In it, two bare-foot giants hold the sky – on the ceiling a similar patterned clothes is hanged from above. On the carpet there is the heart of a giant Jesus and a pair of statues about nuns, above these, there is a big porcelain dog and two half-cut toy babies. In the corner, on the classical fireplace of the flat theatre, there is a lonely statue of Virgin Mary too. Entering the room we can think, that how funny it is, or playful, or creative, or even that how good it is. One thing we do not think about for sure: that with the help of these tiny little things, they can show us that kind of tale, after which we do not doubt even for a moment that these things are important parts of our life.

Mária Ambrus’ set nicely moves on the border of play and reality, some statues of saints can be profane and average that way too, these figures and characters can be themselves that way at the same time, and meanwhile they do not lose any part of their fairy-tale-like nature. Mari Benedek’s fashionable, colourful and various costumes can raise on the excitement and playfulness and they remain characteristic all through the performance: they are sometimes seductive (female dresses), they sometimes mark the social status (Don Juan or the fisher men’s dresses). In is very wonderful, that in any moments of the performance all interpretations are presented at the same time, which we can handle as tales now, as love comedies, direct play and political theatre – then everybody can choose according to their own taste, how they would like to interpret it, or what they are willing to recognise from it.

The three actors of Maladpye and the three university school students do everything, to give us the possibility of it all. The six of them can perform the play with more than ten characters, than even if somebody gets lost in the sea of the changings of characters (however this chance there is only in reality, in case of the two Donna Elvira), but the important thing can still remain. Meanwhile in case of Sándor Zsótér’s staging the stress is not on the names of those, who are seduced by Don Juan, and then how he can find love immediately after that he has got married to Donna Elvira, then during the failure of seduction, how he can find another love, and exactly who are those, who want to kill him, who he stands in for, how he can pretend regret in front of his father. It is on the fact, how the clever man can find his way in the sea of the gullible, terrified people, who have no doubts. All members of this human sea are presented with separate characteristics, meticulous worked-out nature and all of them are unique.

Rita Kerkay performs a simple and a little bit silly Charlotte, who is provocatively knows about her beauty, her Donna Elvira at the end of the performance, is disillusioned, on the level of words the resignation works in her, but we can always feel her desire towards Don Juan. Márton Pallag easily performs in the role of Pieter the fisher man, with the different levels of the proverb of “there is not any God for that I would do, but there is that amount of money”, meanwhile he is that purposeful and cruel Don Alonso. He can find in all figures the mechanism of transparent tricks with glass-like gaze. Norbert Nagy can feel perfectly Don Luis Tenorio’s gullibility, he bravely keeps the most important part of the father, who willingly insists on the empty ideas and habits, who is totally careless. As Donna Elvira’s brother, with clear look, but with tension, he tries to keep his honesty. The actor can feel even better doctor Marphurius’ humour, who is cowardly clueless. As he gives life to La Violette’s figure, who is going around and stuttering in her own silliness and incomprehension, her performance is an easy and cloudless comedy. Erika Tankó’s Donna Elvira does not get angry, when she faces up with the fact that her husband has cheated her, she tries to handle the situation cleverly and intelligently, she tries to form a new type of connection with Don Juan, the actress can show gradually how her aim to think becomes the aim of believe. Her moment is very relaxing, when Mathurine, who she performs – who is seduced in a careless moment by the main character - , find Don Juan, while he is walking around another fisher girl, Charlotte. The trio of Kerkay, Tankó and Ákos Orosz can work together perfectly and that way it is very funny, as Don Juan turns into one another all the questions of the two women and lets them suffering between their own doubts and desires.

Only Sganarelle by Zoltán Lendváczky can watch with criticism his master’s acting. In all his looks we can see social distancing that he knows precisely Don Juan, he does not only know, but he feels that what he does is not right, and he also feels that he should do something. However, his impressions are not followed by decision or act, his decision is that he serves him, he does not stop Don Juan, sometimes he tries with some outbursts, but face to face he is coward and opportunist. In Lendváczky we can see working the tension and division because of it. Anyway, the main character does not become mean or cruel because of it, he is not simplified into some kind of Magician, but he remains the consistent, ingenious and clever person, who has his own principles. Ákos Orosz exists in the role of Don Juan with that kind of drive and concentration. He tries to follow so accurately all parts and ideas of his role, that I can calmly state that. This Don Juan is very sympathetic, as he is a human being, as he has doubts, as for some moments it seems to be that he gets afraid, he has questions, he may change – then turns out that he is just thinking about the next turn. Anyway, why cannot he be sympathetic next to these gullible people, who escape into frightening from questions? If there is not in anybody the courage to stand in front of him, and ask him about his acts, then why he cannot do what he does? It is so beautiful when the characters talk to the statue of Jesus instead of Don Juan, they believe it so much that they even want the salvation from it. Thanks to the group performance of the troupe, all segments of the performance are in balance, and it is impossible to ask who is the good and the bad one here, there are nuanced and multi layered situations and questions. The scale is equal, but lies flow from even the taps anyway. On the level, on which Don Juan can let some parade to himself. Ákos Orosz with good sense of rhythm, incredible energy performs a whole self-exorcism in front of us (This actor-technical show, with some moments, can be equal with all the episodes and versions of the film, titled the Exorcist). It is not a miracle, that Don Luis Tenorio feels sorry for his son, as the scene is effective and captivating – as a viewer it is exponentially true.

In spite of the play and the drive we cannot forget even for a moment, that this tale is about us. Thanks for Júlia Ungvár’s consistent dramaturgical work and fresh translation, all sentences and letters are clear and understandable, and the text is filled with out-phrases and actualities with good taste, that way we cannot get rid of the question, even for a moment, that how we are connected to it all and to Don Juan.

As we have our own Don Juan, in our most intimate circle of friends and on the biggest social level too, in the country also there is a Don Juan, who exists, who we believe everything, as we want to believe him, who never tells anything, who never answers the question, but he can explain everything. The tale is a tale, because it tells something different to everybody, we do not have to connect Don Juan to a concrete person, maybe to a social leader – who wants to believe anyway, obviously they cannot do it, who has doubts, they will do it without hesitation. One thing is common in everybody, either they are the sufferer, or sceptical viewer of the religious tricks: all of us are the parts of it and Don Juan is presently free to do it all.

Then if Don Juan gets bored with the game, if he gets enough of the being led, he disappears (The song of If there is not in life...by Kispál can be matched well to this moment, but it is cynical and very honest at the same time – if it can happen in this situation). Then finally, all these many people, who are led, are there above his remaining and ask about the promises: the money, the marriage, the happiness, the truth. But Don Juan has not existed any more, just those things, which he has left behind: the fanatical hope, that our desires may be fulfilled. It is a perfect picture about us, which is filled with lack of self-confidence, cowardice, desire, belief, with the very sensitive connection of all of these, but we can read it anyway. The result is that if we trust others with our salvation and self-realization without any conditions, then we do not have to be surprised, if we fail and all promises turn out to be balloons. Today there are not any conditions, we just have enough of it, and someone should solve it. We have someone, who can solve it, he is working enthusiastically even now, and we calmly believe him – or we are just looking around. Then we will fail.

Attila Nyulassy, 7óra7, 2013

(translated by: Veronika Fülöp)