Krétakör Theatre found a permanent residence. László Megyeri, the director of Thália Theatre allowed us to move into the studio. We started working on a project that was very far removed from the momentous Nexxt project. We constructed the scenes of Ferenc Molnár’s Liliom with incredible care, for a much more intimate venue and smaller audience. Eszter Csákány played Mrs. Muskát and I cast Annamária Láng and Zsolt Nagy in larger roles. After the debut, it became apparent that this is to become Krétakör’s largest audience success.

The possessed (based on Arthur Miller’s The Crucible) began as a shared project with Bárka Theatre, but due to a disagreement between Bárka’s inhouse actors and their artistic director János Csányi, the premier was moved to Thalia Old Studio. László Melis composed the music. It was not a great success as the two companies could not work well together. Those at the centre of Krétakör (Annamária Láng, Borbála Péterfy, Lilla Sárosdi, Gergely Bánki, Sándor Csányi, Zsolt Nagy, Sándor Terhes and András Vinnai) felt that we should do something unique, that truly sets us apart from other theatre companies.

Patrick Sommier, the then director of MC93 Bobigny, was our supporter and literally our godfather. In addition, he invited four of our performances to his theatre in Paris: Liliom, The Possessed, W and Nexxt. This latter was a miserable failure, since the show wanted to visually impress spectators, but the video technology and also the car, a Volkswagen Beetle broke down instead. There is a Hungarian saying which could be translated as "The magpie wanted too much, but her tail was unable to carry it.". It simply means: "Don't bit off more than you can chew."

Members of Krétakör Theatre wanted to find a completely new and unique form for making theatre. We rehearsed W – Workers’ Circus based on Georg Büchner’s play Woyzeck in the forest near Komárom. We had full freedom to work, which pushed actors to test their psychological and physical limits. W was probably the first production that we had an extensive international tour with, we travelled to numerous countries, from Serbia to Canada, from Poland to Finland. We had not had such a positive international reception since Baal. The premier was at Sophiensaele in Berlin earning both huge critical acclaim and audience success.

I directed a film entitled Nexxt along with the theatre production which opened at cinemas. Around 20,000 tickets were sold. It was a complete flop but one part of it, approximately 30 minutes was not ultimately insupportable. There was too much pressure on me, and I had far too little experience. The producer of the film was György Budai, whom I'm grateful to have made this adventure happen. The DOP was András Nagy.

Although we have been to several tours with Krétakör Theatre, Liliom's guest performance in Finland remains a memorable experience for me. It was the Tampere Theatre Festival which hosted our performances for several evenings,  thus we spent a longer time in the city. We were also invited to a Nordic sauna party. This is how I met Kristian Smeds, the Finnish theatre director, who we later invited to Budapest to direct a rehearsed reading with Krétakör's ensemble.