My version of  Molière’s The Misanthrope triggered heated socal debate. The female lead was played by a man, thus the story was placed in a homosexual context. With this move, I wanted to redefine the concept of normality: let’s assume that homosexuality is accepted to such a degree that the actions of a homosexual individual can be criticized and made into a caricature. A relationship between men and women and between two men or two woman raises exactly the same moral issues that we have to deal with.

Hungary’s accession to the European Union was fast approaching. We prepared for the event with a complementary piece to Fatherland, my all… entitled BLACKland. This production was based on the short text messages which were drawn at the daily events in Hungary and in the world. We reacted to the current events in improvised scenes and sketches. The play opened in Monostorapáti at the week-long mini festival during the Valley of Arts Festival. Ten thousand people came to see production during the course of this week, and the outstandingly successful debut was followed by international tours. We felt like we had risen from nothing to the top in ten years, Krétakör Theatre finally became a force to be reckoned with on the nation and international cultural scene.

We won the Theatre Critics’ Award for Best Production of the Year with Seagull. The point finally came when we were no longer branded with the term “alternative”. Krétakör Theatre’s ascent into adulthood was finally accepted.