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by William Shakespeare



Who is Hamlet? That he is the Danish prince, son of the recently deceased king, is certain. All else is an enigma.
If something unjust happens to us, we feel justified in taking revenge -- naturally, within the confines of the law.
But what if there are no legal means at our disposal, because the criminal's identity is uncertain, and our only witness is a ghost?   
Who is Hamlet? A lunatic, or a skillful play-actor? A depressed man incapable of action, or just a coward?

That he is is the Danish prince, son of the recently deceased king, is certain. All else is an enigma. 

Running time: 3 hours with one intermission

Premiere:  21 March, 2014



Translated by Ádám Nádasdy 




István Znamenák

Gertrude, queen of Denmark

Anikó Für

Hamlet, prince of Denmark

Csaba Polgár

Ghost of Hamlet’s Father

László Gálffi

Polonius, lord chamberlain

Imre Csuja

Laertes, son to Polonius

Márton Patkós

Ophelia, daughter to Polonius

Tünde Kókai

Horatio, friend to Hamlet

Máté Novkov

Rosencrantz, courtier, former schoolmate to Hamlet

Milán Vajda

Guildenstern, courtier, former schoolmate to Hamlet

István Ficza


László Gálffi

Gravedigger’s companion    

Judit Pogány

Fortinbras, prince of Norway, the son to the former Norwegian king

Béla Dóra

First Actor, Player King

László Gálffi

Second Actor, Player Queen 

Judit Pogány


Takes place in Elsinore, Denmark, in and around the royal palace.


Set by 

Levente Bagossy

Costume by

Kristina Ignjatovic


Ildikó Gáspár

Music director:

Árpád Kákonyi

Advisor on Nordic languages:

Zsófia Domsa

Stage manager: 

Tamás Gergely Berta


Zita Kanizsay

Assistant to the director:

Ariadne Érdi



Directed by László Bagossy




The virtue of this captivating performance is that allegory does not stifle the dramatic process. There are things placed in brackets, like the royal couple’s relationship, completely free of sexual or even spiritual affinity.  It is simplified down to a brittle representation. Für Anikó’s Gertrude bears, in her apathy, a dire history of woe; while István Znamenák’s Claudius is capable of strict self-control, without a hint of facial expression in the most critical situations, like when he is “revealed” during the mousetrap scene. Imre Csuja’s exquisitely rendered Polonius is a pompous windbag, but by no means a servant. He is rather a narrow-minded officer, both well-intentioned and destructive, who falls into his own trap. Academy student Tünde Kókai seems self-conscious or at least alarmed, only to startle us in Ophelia’s mad scene with an uncommonly original St Vitus dance symbolizing her loss of physical and mental faculties. Horatio (Máté Novkov) barely exists; Hamlet is a friendless lunatic.

Tamás Koltai / Élet és irodalom 

Seeing László Bagossy’s stage works over the years, both at the Katona József and the Örkény István Theatre, we have come to know a strict director with an ascetic language of forms, one who constructs performances mathematically. He does not mislead us with Hamlet either, despite the play’s colourful, superlative surface. This, too, is as bare and simple as can be, all strictly controlled. I have noted that Bagossy’s systematic mind – like in the case of the director Ascher, although he has a more chaotic technique – never allows him to be carried away by his own Jacobin severity and love of order. Instead, he studies his environment continuously with great sensitivity. He observes people, the streets (a serious runner – indeed, a long-distance runner – and this persistence also counts, the rhythm of being among the pack in a marathon race), and all this deeply interests him, not just the theatre as a form of self-expression. He works with few voices, but they are all his. Even when he quotes them, the quotation marks are his. For me, this Hamlet makes it clear that he possesses great form.

András Forgách / Revizor Online



by Levente Bagossy



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