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high quota of opening including Hungary's fi-rst rock-musical, Fictitious Report about an American Pop Festival, an adaptation of popular Hungarian novel by Tibor Déry. Laszlo Marton, a 30-year-old director with the Vigszinhaz, one of Budapest's most esteemed repertory companies, has done the adapting in an easy dungaree style reminiscent of Hair, where the bosoms in T-shirts provide most of the set. The story line tackles more than hair and bosom, though, placed as it is at Altamont, the California spectacle where Mick dagger performed to the beat of women delivering babies and Hell Angels knocking off spectators. Police make

enquiries of uncooperative witnesses, drugtaker lurk in the corners, and aggression seeps across the corus of 30-old young people to cloud any preconceived expectation at work, Marton directed the play without having been to a pop festival or seen Gimme Shelter, the film of Altamont, but he has seen the Paris version of Hair. The recurrence of tension, while not the accepted version of youth that its commercial promoters know gives it sex appeal, does make sense. It reflects in part the wary incomprehension of a movement that has not hit Hungery and some apprehension at the exhibition of

sheer wanton pleasure. The music, written and performed by Locomotiv GT, Hungery's top rock group, is high-standard stuff, with a good beat put to notion like, »If there's no one to rock you, rock yourself«, »I'd like to see him once more«, and »How can I tell you waht can't be told«. If the play presents a distortion on the side of worms in youth culture’s shiny apple, it is a welcome change, one that might well have been expected from a distant vantage point, but all the more welcome for its concern and fresh wonder at what comes across here too often as weak and pandering pop. [Plays and Players, jun, 1973, Frank Lipsius)