.You can't argue about Guszti ...

Overture

Just as in the season of 1992-93, when Lajos Parti Nagy's first play was performed almost in the same time in Debrecen and Stage Ódry, Ibusár had two premiéres in this year's March, too. In Kecskemét, on the big stage, with the outfit of the national theathers László Bagossy directed the performance, and in the Janus University Theather of Pécs in it's roomdimensioned stage -inaugurated in autumn- dierected by János Mikuli, the leader of the university theather.
In all performances the audience could hear the music of Ferenc Darvasi, in this year live in both performances. In Kecskemét according to the traditions of the operetta, before the raising of the curtain, as an overture a mixture of the performance's tunes is delivered (the orchestre plays in the orchestre pit). In Pécs the performance starts with the breakfast kitchen scene, and later the music supplied by a violinist, clarinettist and an accordionist, as they were waiting for the train on the platform.

The great question of the performance on stage is hw to carry out the three locale (kitchen, station, the world of the operetta), and the relation between the characters in Jolán Sárbogárdi's real life and operetta. In Kecskemét in front of the curtain two chairs and a table signs the kithen, the stage is filled by the building of the railwaystation. In the middle glassdoors lead to the platform, on the right is the ticket office, on the left is the office of the boss. In Pécs three woodframe cabins creats the kitchen on the right, the ticket office in the middle, which becomes the Lugasch, and the office on the left, which becomes the Cabin in the nature of the operetta.
The performance in Kecskemét follows -just as the performances before- the author's list of characters, different actors plays the characters of the operetta and Ibusár. In Pécs the main characters of the two world was merged. The actress, who plays Jolán, plays Amália, too, Mihány Kleisermann, the lover, who abandones Jolán appears as Richárd Bajkállóy, the manidol hussar, and Guszti Vargányai is count Talpighy, who stands between the lovers. In this case it became translucent and visible, how the two worls of the performance are connected, that Jolán writes her own dreams into her operetta. The direction of Bagossy doesn't show the relationship between the parts, the operetta has an own, seperate life. Mikuli's merging largens the sameness between the parts of the performance, that is  definitely uncovered by the drunken Jolán, who confuses the names at the end of the performance. "Mihály Bajkhállóy arrives with Amélia in his hands... Behind him Talpighy Gusztáv..."
"An overworked, unaged, roughly fourty-yera-old woman. Or twenty. Or sixty."-writes Parti Nagy when Jolán appears. Later in the writing the ticket officer tells that she is thirtytwo. The age of the actress could change the stress of the performance. In Kecskemét Erika Réti, who plays the main character according to her age and build could rather be Mum. She is already over those desires, that could honestly characterize the twenty-year-old actresses of the double cast in Pécs, Krisztina Rosner and Lilian Nagy. There is a big difference in generations between the two performances. In Kecskemét the character of Guszti Vargányai is formed by Lajos Kovács, who is in his midle-fifties, while in Pécs the two skilled amateur actors in their thirties, László Inhóf and András Ernő Tóth play his role.
János Mikuli merged not only roles, but scenes, too. In the text, that was divide into eightteen scenes there are eight locale-changing, when the story jumps from the world of the station to the world of the operetta, or back. In the performance of Pécs there are three main parts, three big scenes, so the prosaic parts become more easily understandable andcomprehendable. In this case, if her monodrama is not interrupted, Jolán's -who arrives from the kitchen to the ticket office, dreams about her operetta's premiére and writes a letter to the editorial office of the Magyar Boldog- atmosphere, mood, situation and "bladdercatarrhed"  can come out more powerfully. The assembling of the scenes is exact. This double being of Jolán in her dreamworld and her reality, as ticket officer and as Amália makes her confusion and disturbation clearer than originally. It is helped by such signs that András Fekete, who acts trustworthly and comicly the old hussar, Istensegitsy, appears as Passenger, so it is expierenced that Jolán writes her own acquintances and the people around her into her operetta.
In the room of the theather there is no machine, but there are ideas. The cash desk changes into swing, the boss' telephon becomes the spyradio of Talpighy. The little space can be either an advantage of the performance, for example when the hussars should throw their captain to the air three times, Richard makes three press-ups on the ceiling.
The performance of the Janus University Theather is not about the dilettantism of Jolán, the expertiseof the makers in the genre of operetta, but the drama of Jolán, the distance of the circumstances and wishes, the separation of hopes and talents, the grotesk rebellion of  the writhing person, which is is expressed by Jolán with the words: "Why can't I be normally seen?"
In the two casts two university students with different build and abilities acts Jolán's role. Krisztina Rosner is skinny, frail, her voice is weak, the whole person cries for "a strong manbreast". She forms well the process of drunkeness to hopeless rebellion. Lilian Nagy is stronger, sluggisher, her voice is deeper, she sing better. From first to last she can express the tension in Jolán.
Attila Rajnai (Richard, Misi) is a real smart charmeur, with slightly parodistic gestures, and great voice, Csaba Horváth in the other cast is slimer, unrulier and droller.
László Inhóf (Guszti, Talpighy) has his finger in every pie, dispotatious, with the comical exaggeration of the negative character in the role of the count. András Ernő Tóth's Guszti is sluggisher, sillier, softer, and clumsier in the role of the spy, too.
The whole cast and extra team was imbue with dedication, enthusiasm and love. The audience was inflected, too.

The spirit of the town, or finale
Bagossy László is from Pécs. He is a writer, and was my student on the university ten years ago.

Lajos Parti Nagy, although was not born in Pécs and doesn't live here, but is from Pécs. Since 1977 till 1986 he has been living here. Jolán Sárbogárdi would never been born without Pécs.
The reviewer is also from Pécs.
János Mikuli has been living here for twentyfive years, so it can be said, that he's from Pécs.
I know all three of them well.
But Mikuli has a great benefit, that we won't be able to catch up. Although he lives in Pécs, he was born in Sárbogárd!

Lajos Parti Nagy : Ibusár ( Katona József Theather from Kecskemét)
Music: Ferenc Darvas . Sett: Edit Zeke . Costume. Andrea Földi . Coreographer: Antal Vidákovics . Director: László Bagossy .
Cast: Erika Réti , Dezső Rancsó , Lajos Kovács , Tímea Harsányi , Tamás Sághy , Eta Máthé ,Jenö Kiss , Árpád Latabár , László Csizmadia , Ferenc Fandl , Gábor Zelei , Attila Tárnai , Péter Engert , Zoltán Csontos , Tibor Nagy , Viktor Kniesz , Sándor Kölesséry .
(Janus University Theather, Pécs)
Music.' Ferenc Darvas . Set: Zsófia Herczig . Movement: József Bognár . Director: János Mikuli .
Cast: Krisztina Rosner -Lilian Nagy , Éva Füsti Molnár , László Inhóf -András Ernő Tóth , Attila Rajnai -Csaba Horváth , András Fekete , Ferenc Köles , Attila Szabó , Orsolya Rónai , Gabriella Szalmási , Tünde Gelencsér , Réka Nagy , Éva Kárpáti , Norbert Ács , Iván Bornemissza , András Domonyai .