“Nightlife of Pest” and the Royal Orfeum

Budapest’s nightlife already enjoyed enormous popularity in the early 20th century. After the Millennium Celebrations of 1896, more and more venues opened one after another: music halls, bars, orpheums, and cabarets. Ős-Budavára park opened in the City Park for the Millennial Exhibition. The huge entertainment complex—its buildings, streets, and squares built in a historical style—evoked the atmosphere of old Buda Castle, bringing life to the otherwise calm City Park with restaurants, taverns, wine bars, music halls, Turkish cafés, and coffeehouses.

Among the turn-of-the-century entertainment venues—dives, music halls, orpheums, cabarets—there were major differences in the quality of programmes and in who the regular patrons were. Through the aristocracy and other influential circles, the bourgeois and artistic strata were entertained in different “regular places”: there were venues where cabaret and poetry felt at home, others where dance and intoxication did; in the various low-class dens called “Macska” (“Cat”), women performed who were simply referred to as “girls.” The Arizona, the Moulin Rouge, and the Parisian Grill on Nagymező Street awaited the elite. Somossy Károly’s Fővárosi Orfeum, opened in 1894 (today’s Operetta Theatre), was characterised by refined entertainment—yet visitors did not have to forgo the sensual experiences that surrounded the more overheated, shadier venues either.

Variety theatres were in great vogue: they were places where, alongside prominent figures of literary and theatrical life, politicians and businessmen often appeared as well, to watch musical, cabaret, theatre, or revue programmes. They were places where going out was considered chic, where romances were formed, and where serious business deals could also be made.

In the autumn of 1908, the Royal Orfeum opened its doors, the most brilliant variety theatre of Budapest at the time. On the first floor, three cabarets also found their place: 1913–1920 the Sörkabaré (Beer Cabaret), from 1920 the Bonbonnière, and in 1924 the Papagáj Kabaré (Parrot Cabaret)—the latter presented only three programmes. During its operation it provided permanent performance opportunities for outstanding composers—including Alfréd Márkus, who also composed the music for the 1934 film Meseautó—as well as dancers, singers, and actors. On its stage appeared, among others, Katalin Karády, Alfonzó, Kamill Feleki, and Manyi Kiss; international stars such as Josephine Baker, Grock, the ensemble of the Blue Bird of Jusnij, and Charlie Rivel’s troupe regularly guest-performed here.

Orfeum on Erzsébet Boulevard

The Royal Orfeum stood on the site of today’s Madách Theatre and until 1933 it was the capital’s highest-standard entertainment venue and largest variety theatre. The institution survived many name changes, World War II, and the Rákosi era as well.

The daily newspapers happily reported that a new variety theatre was being built in the heart of the capital. On 3 October 1908, the Royal Orfeum opened at 31 Erzsébet Boulevard, one of the most dazzling entertainment venues of early-20th-century Budapest. With the approval of director Dezső Bálint, the Royal Orfeum made use not only of the neighbouring rental houses at numbers 29 and 33, but also a service building at 36 Hársfa Street: here were the dressing rooms, performers’ accommodations, a huge kitchen, and the artists’ dining room.

The building once had a richly decorated Art Nouveau exterior. The façade was made distinctive by allegorical statues, reliefs, grotesque faces recalling classical theatre masks, an undulating roofline, and plastically formed window frames. A prominent element was the decorative balcony on the second floor, where a full-figure statue of Thalia was placed. Overall, the façade decoration represented the world of art, entertainment, and theatricality.

 In its time, the Royal Orfeum had the most modern theatre-technical equipment; 789 spectators could enjoy performances in its auditorium, and a winter garden further enhanced the elegant atmosphere.

In 1933, the institution’s name changed to Royal Revue Theatre, and reconstruction works began under the leadership of Miklós Gyarmathy. Up to 1945, the theatre’s name was modified several times, but the essence of its operation did not change: excellent artists, creators, and consistently popular productions characterised it. During World War II, the building was partially damaged, but on 7 May 1945—barely three months after the siege of Budapest—it reopened as the Royal Revue Varieté. A bustling life started again on stage: cabaret writers, actors, acrobats, and stars such as Katalin Karády and Manyi Kiss performed. In 1949 the institution was nationalised, it came under the directorate of the Municipal People’s Entertainment Institutions, and continued as the Municipal Varieté. In 1951 it continued under the name Municipal Víg Theatre. Two years later, a decision was made to demolish the once-glittering building because it no longer met the expectations of the new era; an entirely new theatre was planned in its place.

Construction lasted eight years, based on plans by Oszkár Kaufmann. The architect, who worked mainly in Germany, lived in Budapest after the war; he prepared the plans for the Madách Theatre, but did not live to see their realisation. The new four-storey building again offered top technology and modern conditions. Visitors were received by spacious areas and an elegant interior—marble, Venetian mosaic, Bulgarian “garbó” inlays, walnut panelling, velvet armchairs—as well as a 903-seat, air-conditioned auditorium. The 19-metre-wide stage included a revolving stage and a fly tower extending four storeys high. The façade was covered with stone slabs of various sizes, 30 mm thick; its distinctive appearance was defined by the sculptural group by György Kerényi, József Somogyi, and József Kovács. The new boulevard building was taken over by the company of the Madách Theatre. Its modernist, puritan façade broke with the playful, rich formal language of Art Nouveau. In 1999, renovations took place that partly brought back something of the former elegance.

Endre Nagy, “the father of Hungarian cabaret”

Endre Nagy (1877–1938), writer and master of ceremonies, studied in Nagyvárad (Oradea) and began his journalism career there. From 1900, however, he lived in Budapest, where—besides journalism—he wrote song lyrics and short stage sketches for the Tarka Theatre, and worked as a theatre director (Modern Stage, Endre Nagy’s Stage, Lomb Stage, Terézkörút Stage). He often appeared at the Royal Orfeum, the Bonbonnière, and the Beer Cabaret as well.

Endre Nagy established humorous public-affairs performances in Hungary and raised the genre to literary rank. Despite a speech impediment and initial shyness, he developed a direct, intimate relationship with his audience; in his monologues he regularly touched on current public issues. In his work The Novel of Cabaret, published in 1935 by Nyugat, he presents—both as contemporary, organiser, and participant—the birth of Hungarian cabaret and the cult venues of turn-of-the-century Budapest; legendary figures of Hungarian literature and theatre also appear in the story.

Seals on stage and in the café

The Orfeum could not do without sensations either: in November 1925, an animal trainer and performer—appearing on posters as Captain Winston—performed with seals on stage. The Royal Orfeum’s programme booklet described the captain’s life in a separate article, highlighting his method based on the animals’ natural, spontaneous behaviour and emphasising non-violent training. We can read about Sam, who most likes sleeping and eating, in contrast to Curley and Baby, who were born for the stage. Their most admired tricks were “The Sea Maiden’s Prayer” and the “Life-Saver” acts. Captain Winston once even took one of his seals to the New York Café. The seal climbed onto a table, lay down, and balanced sugar cubes on its nose. Reports note that other animals also performed on the Orfeum stage, but the seals were the greatest success. The contemporary press and newsreels reported on the sensation several times, in colourful detail.

Josephine Baker: a morality inspection and ammonia

One of the most memorable—and most turbulent—moments in the history of Budapest entertainment and the Royal Orfeum is linked to the almost-banned performance of Josephine Baker. The famous “banana dance” of the era’s most celebrated American revue dancer could be shown on stage only in Paris and Budapest.

In 1928, even her arrival caused waves in Budapest: the exotic nature of her dance and her origin provoked heated debates among the fashionable audience. Josephine was subjected to a “dress and morality inspection” after her performance became a matter discussed even in Parliament. The leaders of the Budapest state police—together with a deputy minister—checked the show at a special “trial performance.” Since the presentation pleased them, the performances finally received permission. Baker performed at the Royal Orfeum for a full month, evening after evening to a full house.

One evening, however, an unexpected scandal disturbed the show: someone threw a vial filled with ammonia from the gallery onto the audience, causing part of the crowd to flee with handkerchiefs held in front of their faces. Naturally, Budapest’s mondaine public received the artist with enthusiasm. Alfréd Márkus and Imre Harmath greeted her in song like this: “My baby is a black woman / Her eyes are shining black stone,” and Béla Zerkovitz sang: “Come, Josephine, come, Josephine / I’ll eat your gizzard.”

Josephine Baker, an American-born French dancer, singer, actress, was born in 1906 in Illinois; she left school at the age of 12, yet by 1925 she was already performing with the “Revue Nègre” in Paris. In a short time she became a world star and was referred to by several names: “Bronze Venus,” “Black Pearl,” “Créole Goddess,” or simply “La Baker.” In World War II she took part in the French Resistance, and for her civil-rights activism she received the Croix de guerre. She died in Paris at the age of 59; in 2021 her remains were symbolically placed in the Panthéon.

Katalin Karády

Over the long history of the Royal Orfeum, it reopened surprisingly soon after World War II—already on 7 May 1945, barely three months after the siege of Budapest—now under the name Royal Revue Varieté. By the end of the year, the Arizona Literary Varieté was also operating: life surged again on stage, and alongside cabaret writers, actors, and acrobats, stars of the era performed, such as Katalin Karády (1910–1990). Karády’s career began in the theatre: she played at the Pesti Theatre and the Vígszínház, and later achieved great success on the stages of the Municipal Operetta Theatre and the Pesti Theatre. In the 1940s, she was already regarded as an “American-type” film star and fashion icon: her mysterious beauty, presence, and deep voice made her a legend. Her most famous role is linked to the film Halálos tavasz (Deadly Spring). She appeared alongside the era’s most popular male stars, such as Pál Jávor and Antal Páger. Her classic films also include Kísértés (Temptation), Valamit visz a víz (Something Is Carried Away by the Water), and Halálos csók (Deadly Kiss). Like every “femme fatale,” her private life was surrounded by conflicting rumours and speculation. She had a close relationship with General István Ujszászy. During World War II, her films and songs were banned, claiming they were “alien to the Hungarian national character,” and she was arrested by the Gestapo in 1944. From 1945 she rejoined theatrical life, but from 1951 she moved abroad permanently. In 1968 she settled in New York, where she ran a hat salon on Madison Avenue. She lived in seclusion until her death. In December 2004, Yad Vashem posthumously awarded her the title Righteous Among the Nations in recognition of her courage. Her songs and chansons—among them Hiába menekülsz, hiába futsz; Hamvadó cigarettavég; Mindig az a perc a legszebb perc—live on to this day in many reinterpretations. “Always the sweetest moment is the moment / Life does not grant us, / The sweetest kiss is the one / We never kiss.”

 “Nightlife of Pest” is still strikingly diverse today: legendary places reopen or gain new meaning; stand-up comedy, as the old-new genre of cabaret, is flourishing; orpheums, dinner theatres, and bookish, cat-themed (and chocolate-themed) cafés offer ever more varied opportunities for cultural life and entertainment.

Sources:

Alpár Ágnes - Balázs Arth Valéria - Balogh Géza - Bárdosiné Medgyesi Zsófia, Magyar Színházművészeti Lexikon, Akadémiai, Budapest, 1994.

Huncutságok a pesti éjszakában 

A pezsgő mulatók és orfeumok világa

Eltűnt épületek nyomában – A Royal Orfeum

Madách Színház: Történet

Büky László: Karinthy‑groteszkek nyomában

Bűzbombát dobtak Budapesten a banánszoknyás fekete táncosnőre

Josephine Baker