The previously printed program promises about Hamlet, directed by Tim Carroll in Bárka Theatre that we can see a different performance each time. It makes me interested so I would watch it once more. And because we have got used to almost recognisable interpretation, we would watch it third times too; we tried out if we could find something similar; we are looking for the previous two evenings, at least one of them – but for nothing.

Tim Carroll works regularly in Globe Theatre in London; it is well known, that he working method is mostly influenced by its characteristics: nothing separates us from the actors, it is never dark there, not even half shadow, there are not any reflectors, there is a common work-lighting in the place. In Bárka Theatre the performance in in the Fencing Hall; we get a chair, and we can put it where we want. There is only one restriction that on the carpet, which is running as stairs and the floor that goes down towards the wall covered with carpets too, must be let free – so we are almost sitting between the radiuses of an ellipse. At least, at the beginning of the performance. The place is changing: a viewer draws from a hat that where they perform the next scene, so where we have to take our chairs not to be in way; if we are fortunate, we get a place from where we do not have to always turn our head here and there. For the second time I experienced, that if I had to it was not so bad, but who got bored with it, would miss some important look and movement. The more easy-going people from the beginning, the lazier ones after a while, do not regret it a lot – for some of them the actors’ voice performance is enough from their behind.

The troupe can never know in advance, what will punctually happen. I am a little ashamed of it, I admit, that first I have thought that the same thing is written on all the sheet of papers, which are in the hat, that appears during the intervals, as some scenes goes better in some places, than in the other one. But there were not any tricks. The same thing happens with the cast: the viewers can decide which actors will play the roles, in the evening – except from Hamlet, the roles are doubled, or even multiplied – and because I did not listen carefully for the first time, I thought they have not decided the bet before, but they did...

After all these background I was not seriously surprised, that there was a time, when Claudius talked only to me, then Ophelia held my neighbour’s hands, once Rosencrantz hugged my chair, and I heard that his stomach made noises. Everyone could play, who would like to. We have to take a CD or any other object with us – there was everything there: toothbrush, teddy bear, metronome; they mostly use them, maybe a short part can be played from your music, or your tennis ball becomes the scull of Yorick. There are not many sets. Judit Csanádi raises a black curtain around us and there is a white cloth above us, there is a big hole in the middle, and her invention must be the uneven floor too. The actors are performing in tracksuit, T-shirt, trainers.

It is a brave enterprise to take the viewers, who are used to the proscenium stage and a tangible conception, into this kind of situation; meanwhile, of course Hamlet does not have one authentic reading. The playing method, which makes us laughing loudly many times, can distract us easily from the story, and from the one or even more lessons that the performance has, which they may be able to tell us. Are there any signed milestones, if there are, how the troupe of Bárka Theatre, who are excellent in improvisation, can show them, during their performance, which requires bigger and different kind of concentration by actors? I could not find it out. During the third evening, I lost my string, which I have weaved so carefully during the first two ones.

The aim of the performance is it: the viewers can watch a different Hamlet every evening.

Sometimes Polonius lets his son, Laertes go to Paris with a hug, then sometimes he blows deodorant, which he gets from the viewers, on his armpit, the third time the son did not accept the love from his father. Hamlet sometimes frightens the praying Claudius with a plastic snake, then put tea bag into his mouth, or imitates with a chain of pearls, how he can strangle him. After the “To be or not to be” one day the prince tries to make Ophelia drink red vine – already a little bit drunken; then holds them around with tape, with the help of a viewer; the third evening he paints the girl’s face with a lip stick. And so on – only the final performance can raise border against the possibilities. The question is that, whether the different solutions point towards the same aim: how does Polonius react to Laertes’ behaviour; does Claudius realise and know what Hamlet plans to do against him. Does Ophelia try to get out of the situation, which is uncomfortable for her, if yes, she does it, because she never loves the seemingly mad prince, or she turns away from him now. I have no idea. Of course, I have impressions, some kind of them, but obviously, they are mine, so they are radically subjective.

I am sure that: the troupe of Bárka Theatre has made a special performance. The actors, almost all of them, hold our attention with tight performances.

We can see that Zoltán Balázs feels himself well in Hamlet’s role, with a little bit fewer lisps, he would be more authentic for me, but his performance is memorable anyway.

As Claudius, I felt Zoltán Seress a greater ruler than Attila Egyed, but he is a more ghost-like Ghost and a more actor-like Actor King. Olga Varjú’s Gertrud is an active volcano, Kriszta Szorcsik’s is a little bit more sleeping, she is about to erupt, none of them is undangerous.

I have loved the most Gabi Varga. She is a fascinating Ophelia, who is strong in her performance, she is a frightening one; not only Hamlet, but she plays the mad too. Because of her social status she does not have the possibility to revenge her father’s death against the royal court, she possibly commits suicide, but someone helps her for sure; in contrary to it, Kinga Mezei “becomes mad” in reality. As Fortinbras, both of them are patient, and sorry to give command, the volley is mostly against the new rule, the new order – against him.

József Czintos as Polonius is lovable “good old man”, he is without all evilness, Béla Gados emphasises the father’s more annoying characteristic.

My Horatio is for sure, Gábor Nagypál, who is finally horrified by Hamlet, he is ready to go with him to death just because of well behaviour, my nice Guildenstern is a little bit clod, Róbert Kardor, who is well intentioned, he is not a traitor at all, and the calmest, but the most passionate Laertes is Tibor Mészáros. From the other, I likes the most Anikó Varga’s presence as the good Ostrick, and Réka Császár as the Captain.

The “Hamlet in a pocket” is a good game and it is worth trying.

Zoltán Karuczka, Színház, 2006

(translated by: Veronika Fülöp)