William Shakespeare

The Merchant of Venice

Hungarian translation: Ádám Nádasdy

Main stage
2h 45' with intermission (part I.: 1h 45', part II.: 45')

Gábor Viola / Zsolt Bogdán
Balázs Bodolai
Ervin Szűcs
Loránd Farkas
Szabolcs Balla
Péter Árus
Zsolt Bogdán / Gábor Viola
Éva Imre
Portia / Balthasar
Enikő Györgyjakab / Andrea Vindis
Nerissa / The secretary of Balthasar
Csilla Albert
Alpár Fogarasi
Launcelot Gobbo
Csaba Marosán
Old Gobbo
Attila Orbán
Róbert Laczkó Vass
The Prince of Morocco
Lóránd Váta
The Prince of Arragon
Ferenc Sinkó / Paco Alfonsín
The Duke
Áron Dimény
Other parts
Melinda Kántor , János Platz
Bodyguards to the Prince of Morocco
Melinda Kántor , Andrea Vindis / Enikő Györgyjakab

directed by
Gábor Tompa
set and costume design
Dragoș Buhagiar
András Visky
director's assistant
Botond Nagy , Emőke Veres
video images
András Rancz
light design
László Erőss
costume assistant
Gyopár Bocskai
live music
Loránd Farkas , Szabolcs Balla , Ervin Szűcs
Enikő Györgyjakab , Paco Alfonsín
Elocution technique
Márta Papp
stage manager
Emőke Veres , Réka Zongor
Date of the opening: September 28, 2018

The Merchant of Venice is a comedy about the blithely diffused struggle between Usury and Friendship, Revenge and Forgiveness, Disharmony and Harmony. (...) Fairy tale, dark comedy, moral parable or comedy dell'arte? The raw material gathered unconsciously within Shakespeare, only the stage master who intertwines the situations presented is conscious. But the craftsman is also a poet, and the enchanted raw material reflects the fullness of life, even when he does not want us to take it too seriously.

László Cs. Szabó: Velencei uzsora, belmonti muzsika /Venetian usury, belmontian music

The show takes place in the cold world of modern technology, where, in contrast, passions run high. Passions that point, first of all, toward narcissism and selfishness. At the same time, these characters are also prisoners of certain aspects of their own lives.

Nobody chooses to give up everything, or to say he or she is not interested in money. They all act according to their own interest, everything being manipulated by a complex network of interests and alliances. Of course, each character bears strong, sincere emotions; there is sex, love, eroticism. But the characters do not decide based on these. They only temporarily believe these things to be more important. Selfishness and self-interest interfere in all decisions reached. If we reflect on this idea, we can create a terribly cruel theatre. Of course, with elements of comedy, with comic situations, but essentially a greedy, cruel chase after “immortality”, survival or happiness.

Gábor Tompa