Performances

Ernesztó is recovering from an anterior cruciate ligament tear. They took away his favourite role at the theatre, and they also took away what had always been his reliable crutch: the euphoria of football. Some crutch, right! But still, who took it away? Life? Fate? As always? Is it possible that he wasn’t even happy before? It’s time to pick up the scalpel! Our hero looks inside himself and sees that the threads lead all the way back to 1994, when, in the Italy–Bulgaria World Cup semi-final, Gianluca Pagliuca steps out in perfect timing to intercept Lechkov’s through ball… But the Grasshopper and the Ant also appear, the golden team of Érsemjén, a compensation of 50,000 euros, grandma’s leg ointment, and a birthday table bending under the weight of food. There’s everything here, like at a fair. How will this turn into healing?

Once upon a time, beyond nine seas and nine lands, there where the map hangs on a nail, where the pig roots about with its curly tail, there lived long ago a poor man by the name of Witty Pete. He was mischievous and forever up to tricks: he poked fun at people, teased them, and joked on and on. But not with just anyone, only with those who deserved it: the vain, the arrogant, the gloomy, the loud-mouthed, the conceited, the braggarts and, above all… Well now, it wouldn’t do to tell everything right from the start. Better you see it with your own eyes!

Femminicity PRoject They live among us. We heard about their stories, we watched it over the news, we heard the neighborhood gossip. They are the ones sitting on the farthest bench in the park, the ones always apologizing, the ones never really looking in other people's eye, the ones with just too much makeup, and the ones we turn away from, because the look in their eyes just makes us uncomfortable. We see them but do we really know them? Have we ever asked them, about the choices they made, about the path they walked, about the battles they fought, about the lingering sadness around them, about the cuts and bruises? About their strength to keep going, to keep breathing, to keep longing for a better life, for a calm destination, for 12 A Happiness Street.

Let this text be their voices. The unspoken, uncomfortable truth of these women.

The performance was produced within the framework of the European project “FemminiCity”, funded by the CERV programme.

The Tót family lives somewhere in a Banat village. Their only son is on the front during the Second World War. At the boy’s suggestion, a major suffering from nervous breakdown arrives at the family home on leave. The parents and the boy’s sister receive the officer as if their son’s fate depended solely on their hospitality: they walk on tiptoe, adjusting to his every demand, even though it becomes uncertain whether the son and the major are still fighting on the same side of the front. At first, submission is guided by hope; later, faced with madness, obedience becomes the only remaining response. How long can vulnerability be endured when decisions are driven by love? When does fear take control, and how does this state come to be perceived as normal?

In Horváth Hunor’s staging, The Tót Family becomes a memento marked by black humor: the disintegration of the world is not a single spectacular moment, but rather a small crack in the plaster that spreads slowly and insidiously.

Ordinary people are swept away by the vibrant chaos of festival lights. They are lost. Disappointed. Unsatisfied. And long for more than the tight limits each day allows. Caught in the whirlwind of loud music and overflowing crowd, they desperately try to convince themselves that they still have control over their own lives. Old loves fall apart, new illusions emerge. They all search for the same thing: a single breath of freedom, a moment of tenderness, a sincere touch, before being swallowed once again by the aimless crowd.

Let’s pretend play…
We could easily give this title to the half-hour musical and animation performance. Because everything moves, comes to life, and rejoices under the hands of the four sailors: the soft, colorful shapes transform before our very eyes into a huge whale, a swift seahorse, or a mysterious octopus. Naturally, the game becomes truly real only if everyone takes part in it, children, grandparents, kindergarten teachers alike.

“...the sea with its caps of foam is dancing, 

on the boat so many people keep on prancing…”

This interactive musical play is recommended for children aged three and above.

There is a world where anything can be sold — morality, murder, grief. All it takes is a good story — preferably one’s own, moving, and with a life lesson. Or at least one that looks good as a headline. The hunger for stories is endless, but the truth in them no longer matters. Justice becomes a show, where everyone plays a part, and the truth is whatever’s delivered most convincingly. But when the mask falls, what stares back at us is a world we know all too well. Our own. Where truth is just a slick PR trick, and money is the new moral authority.

It is the story of a special friendship. Of the bars that imprison us, that we inherit, that we build for ourselves, that we hide behind for protection, and that leave marks forever. And of freedom, as well. Of childhood, dreams, the endless sky, and the longing to fly. At the heart of this stage adaptation, inspired by William Wharton’s novel, lies the friendship and coming of age of two boys who, at a first glance, have nothing in common. Birdy’s desire to fly and fascination with birds lock him inside the cage of his own mind—a sensitive boy unable to cope with the cruelty of the everyday world. Al, on the other hand, tries to escape the cage of poverty, violence, and a fate he inherited, only to become trapped in his own mind by the horrors he lived through during the war.

Will the two boys, through their shared past, friendship, and the rediscovery of one another, find their way back to themselves and, at last, become free?

Little Red Riding Hood set off through the forest to visit her grandmother. By herself? Not quite. A wolf soon joined her. A real one? Very real. And what happened? Well, you know the story. How about Grandma? Her too... But the hunter, didn’t he…? He arrived, and everything ended well. And this is what’s being performed here? Absolutely! But Isn’t that a bit too scary? It’s a show where you can laugh at what frightens you! How brilliant! And what exactly is operetta? It is like Opera but for little ones. It’s called that because the story is told through song. Wow! And… Pssst! It’s starting!

The performance "Underneath the wound" is a personal reflection on the struggles of childhood, adolescence, and early adulthood. It unfolds as a lyrical dialogue with the self and with the audience. With dedication, it seeks the essence of the soul in a world that moves too fast, trying to find peace amid the constant winds of change.

How do we see ourselves in the world around us? Can we speak our most closely guarded thoughts aloud? How do we face ourselves after being broken? Can anxiety ever truly be put down for good? What lies underneath the wound?

A grocery store turns into a daily battlefield for its employees: promotions roll out endlessly to keep up with the supermarkets, and from the manager to the shelf stockers, everyone struggles to keep up appearances. While the goods rot, morale crumbles, and the store becomes a survival camp teetering on the edge of absurdity. The business is undoubtedly on the brink of bankruptcy, but can human dignity still be saved? Or is it on sale too?

Dead Season. A biting social satire and a human tragedy—two for the price of one, now on special offer.

The performance was created in partnership with Timișoara Municipality through the Centre for Projects.

"I remember exactly the day I first heard about Cseh Tamás. I was a pupil. Ever since, I have considered him a key part of my personal development. During my master's studies, I gathered the courage to play his songs. That’s how 'Zbor adânc' (Deep Dive) came out. One guitar, one microphone, one singer – in one place, for an hour." - Jancsó Előd

"Come on, Zsuzsika, I think I could sing at your theater, it would be a great show. There's the stage, above there's carnival decorations, below a restaurant table and a chair. I’ll sit on that chair and look around, and I could do anything. […] The audience will feel that I’m starting to sing in a special vocal range, and meanwhile, the country, hush-hush-hush, would be rising. I won’t start singing, of course, but the tension will keep growing and we’ll all fly together. 'Zbor adânc' (Deep Dive). That would be the title." - Csengey Dénes – Cseh Tamás: "Zbor adânc" (Deep Dive).

"Content warning: the show contains strobe effects."

We celebrate the birth of light, meaning the coming into the world of Jesus, during the winter solstice. This ritual is as old as time; in the olden days of our grandparents, people went from house to house with the Nativity Play: beautifully painted little churches were carried in arms, verses were recited, and songs praising love and peace were sung.

The birth of Jesus is a celebration of the solstice. In the folk rituals related to solstice, one can discover in the play of the Shepherds shamanic figures of the Sun cult from "pagan" times. In our interpretation, the characters of the play, mostly comedic, advance on the hierarchical scale, becoming CREATIVE characters who tell the story. Each participant will change their everyday clothes for festive costumes: a white shirt, an elegant jacket, a hat. Thus, the Sons of the Shepherds continue to go door to door to narrate the birth of Jesus with their puppets and music, restoring the tradition to its well-deserved place.

The festive show "The Light of Christmas" is about the importance of belonging and respect for our traditions, suitable for the whole family, and invites in the heart of the community.

Who wouldn’t want to be rich, to earn lots of money with little effort, to wear beautiful clothes, and live in a bigger house? 

That’s all Jankó ever wanted, so he grabbed his walking stick and set off into the world. And because this was a world of fairy tales, he gained much more than he expected. In addition to riches, he also found the love of a real fairy. Is this the end? Is this the conclusion of the story? No, it is not over—it’s just the beginning. What comes easily goes quickly—and the fairy leaves. Only now does Jankó realize that all the wealth, beautiful clothes, and the big house are worthless without someone to share.

So, he takes his walking stick and sets off once again. He no longer cares about treasures or richness, only if that beautiful fairy could be with him one more time. He would even fight the devil himself for her. (And he will.)

What does it mean to be a refugee in a foreign country, where life depends on the hospitality of the hosts? On what can a man rely when he loses faith in his own culture, his own God and his own humanity? Does today's idealism preserve a germ of Humanism, or is the spiritual heritage of antiquity and the Renaissance only a memory? The actors will seek answers to these questions by exploring paths through spiritual worlds and surreal situations. In this production, based on the Aeschylus tragedy "The Suppliants", director Szabó Kristóf tells the story of a group of political asylum seekers, where refugees lose their moral support one by one.