Oldal 55 [55]
KÁLMÁN NÁDASDY AND GÉZA PÁRTOS: FREE WIND, 1950
nature was also pointed out by Soviet critics.”*°* They appeared like Laurel
& Hardy at the Operetta Theatre’ and embodied pure optimism, not to
mention the fact that spectators were humming their “Duli-duli” song after
the show. Given their jokes in the promptbook, they must have used familiar
tricks, but they were still considered to be creators of new types of comic
characters, who “sided with truth and fought consciously to be heroes”, who
were “realistic figures, not clowns and complete idiots bourgeois operettas
abounded in”.* They were represented without awkward exaggerations,” so
that Bilicsi and Keleti were able to become engines of the show, forming a
bridge between the protagonists and the chorus (the crowd) as “the children
of the people”.?””
Compared to these three actors, the couples of prima donna and bon
vivant as well as soubrette and buffo were somewhat sidelined, and critics
discussed how Soviet operetta would transform these role-types. Stella and
Marké were more determined than usual, and unlike his female companions,
Pal Homm was able to adapt to this change. His rigid features condemned
by some critics were thought to be crucial by others, foreshadowing that
“this tougher, chunkier and more cornered man will be the hero of new
operetta.””® The characterization of the “ardent partisan”, the “strong-willed
warrior” with “flaming passion” and “amazing empathy””” helped to avoid
being syrupy,*”° but it did not benefit scenes of love and tenderness. It could
not be directly attributed to Homm’s portrayal, but despite toughness and
audacity, the bon vivant began to be more and more weightless in playing
operettas at that time. Lilian Birkés and Marika Németh had more difficulties
playing the positive heroine, and Géza Partos considered this role the most
challenging to play in new plays, either prosaic or musical.*" Lilian Birkas,
whose participation was requested by her husband, Kalman Nadasdy,””” sang
as a guest from the Opera House, and could only get close to Stella with her
203 Margit Gáspár: Szabad szél. (A Miskolci Nemzeti Színház előadása), Színház- és Film¬
művészet 2:11 (1951), 364.
Cf. "One of them is tall, the other is short and stocky. Their eyes laugh cheerfully at the
world." Fejér: Három tengerész, 26.
205 Tbid.
206 According to the actor playing Foma, "it is an extraordinary achievement in the genre of
operetta that we make you laugh within limits and resolve the tension in the end." Speech by
László Keleti, Szövetségi vita, 11.
Csáki: "Hajhó! Zengj, te szabad szél!" 40.
Apäthy, Szövetsegi vita, 17.
Jemnitz: Szabad szel, 4.
Cf. Speech by Alfonso, Szövetsegi vita, 11.
Speech by Géza Pártos, Szövetségi vita, 19.
“[...] Lilian, who had originally been a mezzo, moved on to soprano roles, and Kálmán
thought operetta would make it easier for her. [...] Honthy taught her and helped her a lot.”
Venczel: Virágkor, Part 1, 18.
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DS