Richard III is a jump into the deep, it gets us into the darkness, and we have only one chance to survive, if we pay attention and think is over, because we are in a flat. Let’s leave it. We are not there, we are in England, we are between the Yorks. We are in a bloody empire of plush. We are – we think it – in an imagined world, where we are visiting the frightening cells of human weakness one by one. We are on a scaffold. It is the union if metal and wood. Bang. We are fewer with one. Just carefully ahead, today everybody gets lost in the park of dangerous animals. The main character arrives. Can we understand him? No, we cannot. We are watching him. From now on, the lines are getting mixed in Zoltán Balázs’ hands, in the picture of Richard, he shows us his well-known, self-confident world, he grabs us and pulls us into the top of the traverse, but today nobody should leave the barrier. There is no question but it is brilliant. He is forming his plans by steps, the evil is built on three levels, but everybody climbs it. He cannot be defeated in connection with two things: he has got the talent and the attention, which is the sceptre and the apple in this empire. Meanwhile on the stage there is a continuous brilliance, Sándor Zsótér takes care of it, who can moves and orders his actors with his magic stick that they have become his accomplices, his true partners, so here and now an incredibly thing can be born. And the result? This unique conception, which is the result of this world-wide creativity and performing soul, on the Base, is put together with his troupe. It is one thing, that it is a room. The other one is that it has to be thought out that way to this place with these kinds of actors. It is the magic of a spirit. It can operate the empire of sin, it can fly us back with Ede Szigligeti’s text, and it is also taken into consideration that the prince / rubber dinosaur, the tablet and live rap can be in harmony, that all of these cannot be confusing but additional, to let you get in and not out. On behalf of it, Mária Ambrus is brilliant in the space, from the actors Kata Huszárik and Ágota Szilágyi are brilliant with a great superiority. There is no doubt that all moments of the performance are the mixture of the eternal theatre and modern, pure soaring. The proof of the real originality that all, which is permanent, how can be used again, then in the end, in the total darkness, by the light of a torch, they can climb into the viewers’ heads and leave a question behind: would this be the human being?

Sára Simon, 2017

(translated by: Veronika Fülöp)