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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 Filmművészet 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. 204 20 a 208 20 © 210 21 BE 21. DS
