Béla Stenczer – A Pécs Actor Who Can Only Be Loved

tenczer Béla’s career outlines one of the most diverse and enduring artistic arcs in the theatrical life of Pécs, in which both classical and contemporary roles have played a defining part. His artistic work is distinguished not only by major leading roles and character portrayals, but also by his continuous presence and his role within ensemble life.

He has demonstrated in numerous memorable performances that he is equally convincing in comic, tragicomic, and dramatic roles. Both the professional press and audiences have consistently acknowledged his performances, which over time have significantly shaped his reputation in the theatre scene of Pécs. His life’s work thus represents an acting career closely intertwined with the several-decade history of the National Theatre of Pécs.

Written by Dr. Dezső Vargha, retired chief archivist

Stenczer Béla (born 10 May 1952, Pécs), award-winning actor (Szendrő József Prize 2017, Gobbi Hilda Prize 2022, Pro Civitate Prize 2023), and an honorary member of the National Theatre of Pécs (2014), has had a varied and eventful life. I have known him for several decades, yet I cannot now write about the years prior to his engagement at the National Theatre of Pécs in 1990 by then-director György Lengyel, nor about his managerial and organizational activities within POSZT or the theatre, nor about his work outside the theatre—although all of this was originally among my intentions—for the simple reason that it would have required writing a short novel…

Let us therefore focus on those important performances and roles, arranged chronologically, which in my view best characterize his career. Unfortunately, even so, I had to omit many due to space limitations, but even in this form, they surely provide an overview of the many decades of a multifaceted acting career…

From the early years, one must mention the contemporary French playwright Jean-Daniel Magnin’s “Meat, or the Return of the Prodigal Son,” which was brought to the theatre by János Xantus: he translated and directed it, and it was considered a domestic premiere. From an interview by László Cseri in the December 2, 1993 issue of Új Dunántúli Napló, we learn that the premiere had to be postponed because the stage lift—intended to play an important role in the production—broke down, delaying the construction of the set and causing a loss of ten rehearsal days. János Xantus described the play as follows: “…a play about our lives, about a family in which all emotional relationships, tensions, love, and hatred are present…”

The review of the performance appeared in the December 11, 1993 issue of the same newspaper, also by László Cseri, under the title “The Peak of the Puffed-Up Ones,” with the subtitle “Notes on the play Meat.” He played the Old Man, i.e. the father. Cseri noted that all the actors delivered outstanding performances…

The 17 October 1997 premiere of the musical Fiddler on the Roof (Jerry Bock–Sheldon Harnick–Joseph Stein) is particularly important in Stenczer Béla’s Pécs theatre career because, after his 1990 engagement under director György Lengyel, this was the first major production specifically tailored for him—based on his earlier university theatre success and thanks to the confidence of director István Márta. It should not be forgotten that this internationally successful work has been performed with great success around the world, featuring outstanding actors both globally and in Hungary.

Poster of “Fiddler on the Roof” (1997) (Source: Hungarian National Digital Archive)

This was also emphasized by Ildikó Gy. Hodnik in her review titled “A People Condemned to Eternal Exile,” published on page 10 of the October 25, 1997 issue of Új Dunántúli Napló, where she wrote about his performance: “…in the role of Reb Tevje, Béla Stenczer is wise and restrained. We believe him to be a leading figure of his community, guided by life experience and understanding, enabling him to change his respect for tradition for the sake of his loved ones…”

It was certainly not his fault that this production later appeared again in the same newspaper on November 30, 1997, under the title “Collapsing Set.” During one performance, part of the rear stage set collapsed on the revolving stage. Fortunately, no one was injured, and the performance continued. In the article, under Andrea Müller’s photograph, the following caption appeared: “The performance continued without interruption; the collapse of the set went unnoticed by the audience, as the actors and technical staff of the Pécs theatre handled the situation with professionalism…”

The premiere of Georges Feydeau’s farce “Mici the Oyster Girl” took place on April 7, 2000, directed by Imre Csiszár, featuring guest actor Jenő Kiss from Kecskemét, followed later by Sándor N. Szabó and Anita Fábián in leading roles. In her review in Új Dunántúli Napló, Ildikó Gy. Hodnik described his performance as follows: “Béla Stenczer (Montgicourt) skillfully balanced between the roles of friend and fool.”

In my article titled “Actors, Performances, Cases,” published in the March 16, 2001 issue of Pécsi Hét, I also highlighted Krum Ádám and Béla Stenczer from the cast, writing about their performances: “Ádám Krum’s character portrayal as the general is a real stroke of genius; his distinctive ‘masculine charm’ will be remembered for a long time, just as Béla Stenczer’s portrayal of the friend, in which he likewise displayed similar virtues in his character work…”

In “Hyppolit, the Butler,” with Ádám Ottlik (Our photo is from the website of the National Theatre of Pécs)

The play is a classic tragicomic folk drama that presents the world of ordinary people and social injustice in Vienna.” This is how theatre history summarizes Ödön von Horváth’s work.

In the Austro-Hungarian playwright’s classic drama “Tales from the Vienna Woods,” Béla Stenczer played the Fairy King. The first reference to his performance comes from Imre Nagy’s review titled “The Silence of the Bells,” published in Új Dunántúli Napló on April 12, 2001, in which his role is described as a “grotesquely colored Fairy King.”

In my own review of the April 6, 2001 production directed by Iván Hargitai, published in Pécsi Hét on June 1, 2001, I included a dramatic photograph of him with Anita Fábián, who played his daughter, and described his role as follows: “Here the father’s tragedy is fulfilled… he abandons his daughter at a decisive turning point in his life… Alfred states the truth: ‘Without children, a person is finished… He disappears without trace, without offspring…’”

Miklós László’s comedy “Perfume Shop” is a popular piece in theatres, including in Pécs. The December 6, 2002 premiere was directed by Attila G. Béres. In his review titled “Mrs. Hammerschmidt Cheats,” published in Új Dunántúli Napló on December 12, Imre Nagy wrote: “At the top of the theatrical hierarchy stands the owner of the drugstore, Mr. Hammerschmidt, who looks down on the ‘lower’ world from the top of the stairs like the pater familias of old plays. And due to an unfaithful wife, the peaceful order is disrupted… Béla Stenczer plays a vulnerable, exposed, and fragile boss, blending tragicomic and sometimes grotesque tones into his role… When he walks up the stairs while his lines align with a well-known song, it becomes one of the most memorable moments of the performance…”

In my article titled “A Classic Perfume Shop,” published in the December 20, 2002 issue of Pécsi Hét, I wrote about the performance: “At the ‘top’ stands Hammerschmidt Miklós, the owner—Béla Stenczer is given a role that fits him perfectly, and he lives fully within it—who not only understands his profession but is also devoted to it, combining all the qualities that define a good leader…”

If I consider the literary-historical evaluation of Shakespeare’s famous tragedy “Romeo and Juliet,” I would highlight the following: “…Since then, it has been one of the most beloved plays in virtually every era—it cannot be staged often enough, as every generation should see it at least once.

In “The Imaginary Invalid,” with Lajos Széll Horváth (Our photo is from the website of the National Theatre of Pécs)

This was the guiding principle of director Tamás Balikó when preparing the March 15, 2003 premiere, together with his actors and production team. Béla Stenczer was cast as Brother Lőrinc, a Franciscan friar, portraying a friend of young people. In the March 24, 2003 issue of Új Dunántúli Napló, Imre Nagy wrote about him under the title “The Mask of Night on My Face”: “…and except for the final scene, Béla Stenczer also successfully handles the role of Brother Lőrinc…”

The world-famous musical My Fair Lady by Frederick Loewe and Alan Jay Lerner premiered on October 10, 2003, directed by László Babarczy. The leading roles were played by Katalin Stubendek, Tamás Balikó, and János Németh. Béla Stenczer was given a role perfectly suited to him, and he truly reveled in portraying Alfred P. Doolittle—alternating with István Fillár. The production proved so successful that the theatre also staged it for its New Year’s performance, once again achieving great audience success.

By the beginning of the following season, in September 2004, this highly successful production had already reached its 100th performance, as Tamás Balikó, the director, happily reported in a long summary published in Pécsi Hírek on September 2, 2004, titled “A Centuries-Old Tradition with a Pinch of Spice.”

When a theatre programs a successful play, it does so for at least two reasons. On the one hand, there are actors who can guarantee success with it; on the other hand, due to its popularity, financial considerations also matter, as such productions reliably attract audiences. István Zágon, Károly Nóti, and Mihály Eisemann’s musical “Hyppolit, the Butler” is, alongside the endlessly popular 1931 film by István Székely, also a major audience draw in the theatre. At our theatre, the October 5, 2007 premiere was directed by Tamás Balikó, with Ádám Ottlik in the title role. Béla Stenczer alternated with László Bakai in the enjoyable and perfectly fitting role of Mátyás Schneider, the “onion-eating landlord.” It goes without saying that this too was a guaranteed success.

The National Theatre of Pécs gave a major opportunity to the Mohácsi brothers when, for the April 4, 2008 premiere, they defined the production in the program as follows: “After Molière – The Imaginary Invalid, a comedy in two acts, based on the translation of Árpád Berczik, written by István Mohácsi… Directed by János Mohácsi…”

In “The Csárdás Princess,” with Zsolt Lipics (Our photo is from the website of the National Theatre of Pécs)

Béla Stenczer also received a significant opportunity from them when he was cast in the leading role of the comedy, playing Argan. As a preview of the production, I recommend to our readers an interview by Andrea Csató published in Pécsi Hírek on April 4, 2008, titled “Molière Only Provided the Idea,” which quotes the director’s statements. This production was also unusual because it started an hour earlier than usual, at 6 p.m., and finished after ten. Critics noted that Béla Stenczer and the young actors were “thoroughly enjoying themselves in their roles.”

In the article, János Mohácsi commented on the rehearsals as follows: “…It felt as if I were working at home in Pécs. I encountered the company at just the right moment. I am not a particularly vain person, but I would be surprised if this production were not among the best of the next season. I would rank it in the top five of my own works. I therefore look forward to the premiere with great expectations.”

And now comes the “punchline”: the production went on to win the Critics’ Award in the following season, as reported by Új Dunántúli Napló on October 3, 2008. László Zappe praised it as follows: “…The clear, simple narrative of Molière was expanded by the Mohácsi team into a multi-layered comedic structure filled with complex relationships and entanglements…”

Finally, regarding his artistic and human resilience, the following excerpt from the May 6, 2010 issue of Új Dunántúli Napló (reporter Endre B. Mészáros) should be cited: “During the performance of Richard III, Béla Stenczer (as Lord Hastings) suffered multiple fractures in his right upper arm, yet continued the performance, appearing in four more scenes afterward… The actor slipped on the stairs leading offstage and fell onto a smoke machine…”

In “Somewhere in Europe,” with the children’s troupe (Our photo is from the website of the National Theatre of Pécs)

Imre Kálmán’s great operetta “The Csárdás Princess,” alongside Ferenc Lehár’s “The Merry Widow,” represents the pinnacle of the genre and remains a perennial audience favourite. Therefore, every theatre—both in the past, present, and future—has a duty to stage it as often as possible, as in doing so it gifts both its own company and generations of theatre audiences.

The author of these lines had first seen the legendary production of the State Opera Theatre in childhood on television (MTV), then the highly successful film directed by Miklós Szinetár, and later, as a secondary school student and adult, several notable productions of the Pécs National Theatre, featuring local legends—including the quartet of István Mester, Mária Cseh, Éva Vári, and Vilmos Mendelényi (plus Margit Takács, Gizella Péter, László Faludy, and Lajos Szalma).

Béla Stenczer also had the opportunity to appear multiple times in this popular operetta during his career in Pécs. Here, I highlight the performance from October 7, 2011, in which, under the direction of László Méhes, he portrayed Prince Leopold Maria Lippert-Weilersheim.

An interesting note: both Új Dunántúli Napló (October 3, 2011: “Familiar Faces in a New Light: The Csárdás Princess and Anna Édes”) and Pécsi Hírek (October 7, 2011: “Spectacular Operetta and a Drama Exploring the Depths of the Soul on the Repertoire”) simultaneously published articles on an operetta and a classical drama. This also highlights the equal standing of different theatrical genres.

In the first article by Károly Méhes, the director stated before the premiere: “…the Pécs actors have gone through an intense but very enjoyable rehearsal period, and fortunately there was time for everything essential in the musical genre: music, songs, spoken text, and dance all had to be carefully integrated…” In the second, he added among other things: “…One thing is certain: I have staged a traditional operetta, and I have tried to incorporate traditions that remain relevant today while avoiding those that do not…”

In “I Was the Last Executioner of the Monarchy” (Our photo is from the website of the National Theatre of Pécs).

The author of these lines first encountered the legendary production of the Hungarian State Opera on television (MTV) in childhood, followed by Miklós Szinetár’s highly successful film adaptation, and later, as a secondary school student and adult, several notable productions of the Pécs National Theatre featuring local legends—including the quartet of István Mester, Mária Cseh, Éva Vári, and Vilmos Mendelényi (as well as Margit Takács, Gizella Péter, László Faludy, and Lajos Szalma).

Béla Stenczer also had the opportunity to appear multiple times in this popular operetta during his career in Pécs. Here, I highlight the performance of 7 October 2011, in which, under the direction of László Méhes, he portrayed Prince Leopold Maria Lippert-Weilersheim.

An interesting note: both Új Dunántúli Napló (3 October 2011: “Familiar Faces in a New Light: The Csárdás Princess and Anna Édes”) and Pécsi Hírek (7 October 2011: “Spectacular Operetta and a Drama Exploring the Depths of the Soul on the Repertoire”) simultaneously published articles on an operetta and a classical drama. This also highlights the equal standing of different theatrical genres.

In the first article by Károly Méhes, the director stated before the premiere: “…the Pécs actors had gone through an intense but very enjoyable rehearsal period, and fortunately there was time for everything essential in the musical genre: music, songs, spoken text, and dance all had to be carefully integrated…” In the second, he added among other things: “…One thing is certain: I have staged a traditional operetta, and I have tried to incorporate traditions that remain relevant today while avoiding those that do not…”

Béla Stenczer, Lifetime Member of the National Theatre of Pécs – Source: Fidelio

In portraying the role of Simon Peter, Béla Stenczer was able to bring together all the experience he had accumulated throughout his acting career alongside his talent, thereby contributing to a memorable production that enjoyed great popularity with audiences.

As with the previous works, this piece could not be omitted from the present account. It is well known that any major theatre personality who plays a significant role in the life of a company will, at some point in their career, either direct a production or appear in a work that becomes uniquely associated with them—essentially experienced as a “reward performance,” a role that fully belongs to them. Such was the case in Béla Stenczer’s artistic career with the monodrama “I Was the Last Executioner of the Monarchy” by Gerhard Dorfer and Anton Zettel, in which he played the role of Lajos Lang at its Hungarian premiere on 28 January 2023, translated and directed by József Bodonyi.

One must be transported back to the atmosphere of earlier eras to understand the key to the executioner’s public popularity, which disappeared without a trace in the turmoil of the First World War and never truly re-emerged. That a “professional” who carried out executions was surrounded by such attention and even a degree of “fascination” can only be understood from the perspective of the people of that time. This was what his memorable performance portrayed, born from the recollections of our “hero.” Looking back, those of us who sat in the audience can be glad that we spent an unforgettable and thought-provoking evening with him and with his interpreter.

László Dés, Péter Geszti, and Krisztián Grecsó joined forces to adapt one of the defining novels of our youth, Ferenc Molnár’s “The Paul Street Boys,” into a musical, which has since become a staple success in theatres. It has also been staged in Pécs. Here I refer to the September 20, 2025 premiere, in which Béla Stenczer—who else—portrayed Janó, the guardian of the Grund, delivering an equally memorable performance as the rest of the cast. The production was directed and choreographed by Balázs Vincze, with leading roles played by Sámuel Telek, András Czombál, Kristóf Takaró, Bence Juhász, and János Németh, among others from the large ensemble.

In “Three on a Bench,” with János Németh and Éva Vári (Our photo is from the website of the National Theatre of Pécs).

For press coverage, several articles from Új Dunántúli Napló can be mentioned: 22 September 2025, Viktória Tóth – “Everyone’s Grund” (commentary), and “Standing Ovation on the Grund” (a full-page illustrated feature), as well as 29 December 2025: “The Musical ‘The Paul Street Boys’ Is a Great Success at the Pécs National Theatre – Tickets Sold Out…”

In my earlier summary of my friend János Németh, I already wrote about Aldo Nicolaj’s successful play “Three on a Bench” in connection with its 6 December 2025 premiere, directed by Gábor Bakos-Kiss. In the case of my friend Béla Stenczer as well, beyond the memorability of his performances, it is the contemporary relevance of the play that leaves a deep impression on the audience and makes him a true audience favourite. The story of three abandoned elderly people—joined later by Éva Vári as the third—becomes a genuine “reward performance” for the senior actors of any theatre company. According to the theatre’s introductory text, “…from beneath the grey layers of uselessness, lack of love, and aimlessness emerges a heartwarming story of love for life, mutual support, and the search for an eternal companion…”—and this is precisely what draws audiences to our chamber theatre.

The stage adaptation “Pécs is Mine: The City Forever” was appropriately premiered on Poetry Day, 11 April 2026. The chamber theatre featured the very best of the company, including Béla Stenczer. “…On stage, Janus Pannonius, Sándor Weöres, Győző Csorba, and László Bertók come to life—not as memorial plaques, but as living questions. Through their words, we do not see a city of the past, but one in constant formation. A city that each generation rewrites…” reads the theatre’s promotional text, also emphasizing that music here is not illustration but memory. The production was directed by Zoltán Tóth, with dramaturgy by László Bagossy Senior.

This production serves as a fitting, albeit temporary, conclusion to my somewhat lengthy yet inevitably incomplete essay on Béla Stenczer—an essay that nonetheless hopefully captures the multifaceted nature that has always characterized his acting career.

In the theatre history of our region, there have always been figures whose memorable artistic careers have been closely tied to our Mecsek-region city. I believe it is no secret that Béla Stenczer has long belonged among them.

And the statement expressed in the title—that he is a Pécs actor who can only be loved—has thus been answered as well. This is reflected in the exceptionally long standing ovation that greeted Béla Stenczer as Janó in The Paul Street Boys premiere, offered by the appreciative audience.