BBJ: This year’s repertoire at Margaret Island is again quite eclectic.

Teodóra Bán: This year’s program showcases diverse genres: theater, concerts, modern dance, classical and popular music performers, ballet and opera. We proudly offer the Hungarian public international sensations like Jonathan Tetelman in “The Great Puccini” opera gala. There will also be “Swan Lake,” and the company of world-renowned dancer-choreographer Antonio Gades brings us his production of “Carmen.” Vivaldianno’s “Shining Venice” program will unveil a unique and completely innovative visual concept.

BBJ: Wouldn’t it be simple to remain in the field of classical music, staging only opera and ballet performances and organizing classical concerts?

TB: If we only performed classical music, we couldn’t fill the theater (which seats 3,000) for four months. There simply isn’t a large enough audience for classical music in Hungary. There is another reason: Look at the age range of those attending the Palace of the Arts, the Music Academy, or the Opera House; most audience members are older. We want to offer events for young people as well. With popular music concerts, we can introduce them to this gorgeous environment, hoping they will return later for other shows.

BBJ: Organizing so many performances, making agreements with artists from abroad, and coordinating productions takes time. When do you begin shaping the season? And on what basis do you choose productions?

TB: Agreeing with a foreign production takes one or two years, so my teams and I work non-stop all year. Thanks to the internet, everything is accessible. I’m always exploring what is happening in the cultural world: what are the trends and premieres? I choose what interests us from the selection, and then my colleagues look into their availability. Naturally, there are personal relationships, too. Unfortunately, there are many productions we cannot bring to Margaret Island. Maybe the artist’s fee is so high that we cannot pay it, or the production is simply too big. While this is the biggest theater venue in the nation, we have a smaller capacity than the MVM Dome or the Papp László Budapest Sportaréna. The most expensive productions are out of our league. Although our theater receives operational support, it is not enough to spend on costly shows.

BBJ: You are a seasoned player on the Hungarian cultural scene. Has much changed in the habits of viewers over the decades?

TB: Yes, much has changed. In 1992, I established my enterprise in the cultural field, creating the V.I.P. Arts Management production office. We organized Budapest’s Summer Opera and Ballet Festival and the Opera Ball. At that time, financing, support, and the role of sponsors and ticket sales all worked differently. If something appeared on the placard, people immediately bought tickets in advance so they were sure to have a seat. There was not such a vast array of cultural offerings as now. Today’s viewers decide and commit themselves at the last moment. They don’t plan and purchase in advance. Competition has also heightened among theaters. Everyone is striving for full houses. It is a battle for spectators. Much must be spent on marketing and advertising.

BBJ: Twenty-one years ago, when you became leader of Margaret Island Theater, what was the most significant challenge?

TB: At that time, the Margaret Island Theater building was in terrible condition, which I only found out later. When I applied for the leadership position, I had big dreams. This theater meant a lot to me. I performed on this stage when I was nine years old. I danced the role of a Chinese girl in the operetta “The Land of Smiles.” Later, I performed here several times as a dancer, and I choreographed performances. My application that year was for a large spectacle theater with glass corridors and a semi-covered auditorium. What we finally managed to implement out of these grandiose plans in 2013 was to renovate and modernize the entire theater, of course, with less money than my dream building would have cost. Since it is a landmark building, we didn’t demolish anything. We added air-conditioned dressing rooms, two large rehearsal rooms, set storage and replaced the stage entirely. Also, a large spectacle roof was built, which looks amazing. The backstage area has been transformed and made comfortable according to today’s needs, and we can now welcome foreign artists and troupes. The auditorium has also been renovated. Pristine white chairs await spectators, and the Water Tower has also been renovated.

BBJ: You are an experienced and successful businesswoman, but also had a successful career as a ballet dancer, with lead roles at the Opera House. What is similar about these careers? What are the qualities that helped you to succeed in both fields?

TB: Many things in life depend on luck and the opportunities that fate offers you, but it also depends on what you do with them. There are few times in my life when I wanted something. Usually, an opportunity came along, and I seized it. As ballet artists, we were locked in an unconscious state of mind. We only concentrated on roles, practice, and technical solutions. We did not pay much attention to what was happening outside. We were fanatical professional barbarians, but there was no other way to do that career. I had a goal I wanted to achieve and I fought for it with determination.

This is still the case today. Struggling and achieving the goal at all costs are also hallmarks of my current professional life. Dance and company management are lonely genres, and this loneliness, in a positive sense, has always been characteristic of me. Since I was nine years old, when I entered the Ballet Institute, I always felt alone. My career was like a giant roller coaster. Some things worked out, others didn’t, but the pressure made me stronger and formulated my character, giving me motivation.

When we created the opera festival, I still danced a lot. I also had a ballet school. I like being an entrepreneur. I like the excitement, and I am interested in challenges. Even today, I always want to do more, driven by inner curiosity. I spend plenty of time reading, thinking, and seeing the world, so I can hold my own in my work and do something that will benefit others. Of course, I have my family and colleagues around me, but I have to make decisions on my own regarding work. If I want things to progress and everything to work well, I must commit to the tasks.

This article was first published in the Budapest Business Journal print issue of July 12, 2024.