It disturbs the left that Enikő Eszenyi, the former director of the Comedy Theater, is working again a year and a half after his resignation. Péter Cseke invited the actress to organize the actress at the Katona József Theater in Kecskemét. Soros’ blog is already outraged. As Origo wrote several times: at the end of 2019, three theaters in Budapest organized a demonstration together with Gergely Karácsony, but Enikő Eszenyi did not leave. The left-leaning actress then became one of the enemies of the theatrical world on the left. Miracle of miracles, suddenly comedy actors began to complain about Eszenyi’s (otherwise well-known) unbearable director’s methods, the main advocate being an activist who called himself a funny name, actor Áron Molnár, who had previously been advised from the Comedy Theater.
The 444 Soros blog called Enikő Eszenyi a scandalous director in the report in which it was written that the actress got a job at the Katona József Theater in Kecskemét. 444 now also writes about physical abuse, they also included a link to an earlier article of their own, as some sort of evidence, but it doesn’t even mention physical abuse. In addition to the 444 article and the speech of the entire left-wing propaganda media choir, several former members of the association asked themselves, under some command, that Eszenyi could work again after a year and a half.
Áron Molnár, a left-wing activist and former episode actor of the Comedy Theater, whom he did not claim during the administration of Enikő Eszenyi, spoke again. According to him, it is the spitting of the victims that Eszenyi is working again (i.e., she can earn money, make a living). As is well known, no actor claimed that Enikő Eszenyi had physically harmed them, nor was she accused of sexual violence or attempted violence. It is difficult to call sexual harassment that Enikő Eszenyi, at a theatrical rehearsal for Lulu’s role in Wedekind’s provocative, expressionist masterpiece, suggested to an actor unknown to the general public that she lick her armpit as a bizarre display of desire. On the stage.
It has become public (which, by the way, many in the theater profession knew before) to run his company in a violent, dictatorial way. No one spoke for 10 years, but as soon as he did not stand by the left, he suddenly started to dry up.
Exactly what might have happened in the Comedy Theater is difficult to determine from the outside, it would be up to the Christmas government, but why could they achieve any results on a complex, moral-employer-professional issue if they could not solve the unbearable traffic jams?
What is certain: on the one hand, authentic, real actors – such as Judit Halász, Endre Harkányi or Enikő Börcsök, who has since died dramatically at a young age – also talked about the unbearable (and of course defenseless and unprotected) style of Enikő Eszenyi, and not physical violence or harassment. Like no actor.
On his Facebook page, Tamás Lengyel, best known as a serial actor, wrote: “According to them, there is nothing wrong with having people over whom people have had a lot of complaints, and it is also okay for complainants not to know the results of the investigation.”
Enikő Eszenyi’s behavior was mostly criticized for personal insults, sometimes for educating older colleagues. However, no physical abuse or harassment. Of course, it would be hard to be seen as an exemplary leader, but it’s weird that Soros’s blog would actually deprive him of job opportunities as well. Of course, no one defends Enikő Eszenyi – another and typical double standard of the left is the absurd.
Enikő Eszenyi cannot be compared to the operetta director Miklós Kerényi, Gábor Kerényi, a TV harassing women fired from an ATV, Henrik Havas, who harasses the young boy, or Varnus Xavér, who molests the young boy.
The three of them, on the other hand, work, here and there. They were not cast out by the left-wing community. But Enikő Eszenyi does. He did not move with them, he did not politicize as required of him, and the punishment came immediately.
The previously unquestionable, celebrated actress and director of the left has thus become an undesirable person in their eyes because the 2019 Theater Act, when amended, did not stand out along with three theaters in the capital. (By the way, Gábor Kálomista told the Origó, referring quite clearly to Gábor Máté and Pál Mácsai, how unbridledly fledgling left-wing theater directors flattered the mayor who never intervened in the internal affairs of theater.)
István Hirtling, who was invited to the company by Enikő Eszenyi in 2019, told Origo, “If it is certain that what is accused of him has happened, it is a series of difficult moments that gave the company and those who spoke against it. However, I ask. five years before these accusations did not come to light. (…) We all need to learn to respect and defend work, dignity, but this is true back and forth.If I have such problems with my director or director, I need to find them in the channels where I can talk about it.
In today’s internet world, these public consoles and character murders may not lead to results. I was very sorry that this took place in public in such a bad light on the profession. The new director of the Comedy Theater, Rudolf Péter, two months after Eszenyi’s departure, allowed the actress to visit the renovation rehearsals, but after (or referring to) the opinion of the theater’s senior staff and the art council, she decided the director may not be present at the rehearsals. That is, he distracted his predecessor from the theater. The grumbling of the Soros blog against getting Enikő Eszenyi to work shows that the left does not forget. He who is not with them has no mercy.
Incidentally, in connection with the invitation of Eszteri, director of the Kecskemét stage, Péter Cseke, he told Blikk:
I believe there will be a harmonious rehearsal process between our walls, creating a balance in the theatrical profession. As a Christian, I trust in the power of forgiveness, just as I trust in repentance. “