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IMRE APÁTHY: ORPHEUS, 1952
been the goal of the creators, and it was rather risky too, but some moments
— perhaps stressed by acting (by an emphasis, a gesture) — may have had such
an effect. Strictly unspoken, it may also have contributed to the devaluation
of Apäthy’s mise-en-scene.
ACTING
Neither the participants’ individual nor their ensemble acting was considered
outstanding, and only Kamill Feleki’s achievement was found memorable.
His John Styx was overshadowed by his legendary series of roles spanning
from the Prompter in Free Wind (1950), Menyus in The Palace Hotel (1951)
and Glauzius in State Department Store (1952) to Sir Basil in The Count of
Luxembourg (1952), which were honored by the Kossuth Prize in 1953, yet
he shone out of the production of Orpheus, even if the role had posed some
challenges for him. Critics noted that John Styx, a servant of Pluto, “had
nothing to do with the plot, and had only been brought to the Underworld
of this ‘peace fighting’ operetta out of respect for Offenbach”.?” It presented
difficulty for the actor, who did not wish to rely on trite comic patterns.
Refusing to create the figure only out of jokes and witty remarks, he intended
“John’s stupidity to be his main negative characteristic”.*°? Although no one
referred to Stanislavsky in this case, Feleki brought “lots of funny ideas, lots
of colors” into the foolish ex-king craving his throne, and became the comic
engine of the production.*™
In contrast, Gabor Agardy, who made his debut as Jupiter in the capital
after his career in Szeged and Miskolc, mostly used familiar tricks as the
protagonist of the satirical line of action. The audience loved him in his
many burlesque situations, but he was criticized for misplaying “the angry
father of lightning”.*® Jupiter was originally intended to be played by Tivadar
Bilicsi, and Orpheus became memorable for theatre people chiefly because
302 Antal: Orfeusz, 7.
303 György Sas: Kamillka. Lírai mese egy nagy művészről, Budapest, Háttér—Editorg, 1988, 116.
304 Bacsó: Orfeusz, 5.
305 Cf. The actor “would have some opportunities to make us also feel Jupiter’s fear shrouded
in fearful acts, his cruelty of lightning behind the mantle of graciousness, the characteristic
qualities of the classes of history so far. But Agardy insists on proving how brilliant he is as a
buffo, how well he can thunder and buzz, make faces and climb walls. He is less insistent on
showing his acting skills this time.” Antal: Orfeusz, 7. — “Gabor Agardy, who is introducing
himself in Pest now, reveals some of Jupiter’s characteristics, his hypocrisy and cowardice
with talent. He must strive to capture the figure’s determination and cunning in an equally
effective way." Péter Bacsó: Orfeusz, 5. — It is interesting to note that there was a production
of Orpheus not only at the beginning but also at end of Agardy’s career in Pest. His last role
before his death in January 2006 was John Styx in Orpheus in the Underworld staged by
Istvan Iglédi at the Magyar Theatre in 2005.
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