Index – Culture – “I have never been as good to you as anyone in my life”

A lifetime swings in front of us in a good hour at the Cellar Theater psychocrime. Ágnes Balázs’s piece, The Audition asks for the twenty-five years of a man’s relationship, drama, breakup and then meeting. A beautiful, painful, deep and tragic relationship between a strong, successful and talented actress and a talented but unsuccessful actor constantly on the run from his destiny, and finally a cathartic encounter.

Ella Bogár and Leonárd Láng come for an audition, a casting. While they wait for admission, it turns out that they parted ways a year ago. The twenty-five years they have spent together are unfolding, the wonderful story of their friendship unfolding, their impossible and paralyzing relationship with the man’s mother, the woman’s orphan-orphan, the screaming unhappy childhood. The dynamics of the two: Ella Bogár, who was an extension, had arms and legs for the man, for whom she was good for a while, because she gave him security, until she suddenly realized that she did not exist as an independent being , a terrible space arose in him. As is customary in all strong and weak relationships.

This is repeated by the man waiting for the woman to throw, this is included in the piece (s) they are waiting to throw. And he really suffocated. That’s why he left. Amanda Szopkó, twenty years old, and the common future, the child waiting together. That he was never born out of a relationship with his wife. Because they didn’t want to, because the woman didn’t want to, because she wanted to play, the man left her.

I had to do something to become someone

– He says.

Ella Bogár, the aged and tired actress, dies in abandonment, in solitude. She has been alone for a year, waiting for the man with every phone and intercom that rings. He wakes up alone in the morning after twenty-five years of marriage. With the knowledge that the man is with his new partner. And after a life together, he stopped drinking.

Until now, the man has tried to survive on his own nothing with the woman.

I’ve never been as good to anyone in my life as I was to you

– Ella Bogár says, waiting for Leonárd Láng to be cast, they run behind the screen, tear off their clothes and play the past. Then the woman says it was shit with you, I had to vomit you up and bother you, destroy everything, we don’t know what is true. With vehemence, passion, a blend of ancient heights and depths, the deepest intimacy and the most ruthless sarcasm, their duo balances on the multiple edges of mockery, insult, pain, humiliation, play, and evocation, of brilliant and disturbing way. Ella Beetle has an epileptic seizure, twists, falls to the ground, gasps and the man calms her with the common game they only know. With a game that evokes a non-existent idyll, a happiness never seen before with Ella and her father, who abandoned her at the age of six, with a garden, lunch, family, joy, made pancakes. A beautiful and heartbreaking memory of union.

Come home Leo, I am nobody without you

Ella Bogár says, pleading with the man. Man loves it, hears the voice, he shouldn’t call, but he can’t go. She is expecting a child from another woman, and this time, for the first time in her life, she stands on her own two feet, makes her own decision, and overcomes it. He does not leave the new woman there, he feels in vain, his life is with Ella Bogár, Ella Bogár, in his hands. But this time it will prove it. Too bad it’s only now. For the woman who has been waiting for this for twenty years, it’s a shame that he’s not showing it now, not to her, but to her detriment. But it shows. And from that, no matter how absurd, no matter how impossible, it grows in his eyes. Respect. And affirms. The piece of that good man. In which these scenes are found. And by saying it, the woman destroys her word a minute before and returns to her.

However, Ella Bogár killed the man’s fetus.

Success is not free. You have to kill for it.

After the country premiere of the men’s piece, when they sit in a threesome on an express, the man drinks and the woman drives home. They travel in threes with the lead of the performance, the statistically talented twenty-year-old actress Amka Szopkó, who saves the man’s ego from the rubble. One curve, one more, and everything goes dark. The man falls into a coma, Amanda’s fetus dies as a result of the accident. Ella Bogár is not hurt. Kill the child, unconsciously and consciously. She doesn’t want to let the man go, she dies with the pain of leaving her. Therefore, it also causes you devastating pain.

Tünde Murányi, with this portrait, goes to Ella Bogár with the arsenal of the greatest actresses (herself). He dares to be old, vulnerable, and ugly, and can be seductive, fiery, and defiant. Play on scales like the largest. It shows how weak, vulnerable and lost really is a woman who seems strong, assuming all aspects of herself. Artúr Kálid is a worthy opponent as a battered companion in his fifties, still searching for himself, stalking in the shadow of the woman, fleeing the embrace and fresh eyes of lovers in search of medicine. Throughout the two you feel the real relationship, a quarter century of experience, the highest degree of intimacy.

András Gáspár’s fiery and passionate directing fully restores the theatrical experience, we have no shortage during streaming gameplay. And Ágnes Balázs’s piece is like Leonárd Láng’s: with promising, strong moments and psychic support. Cast

Final remarks.