These were common sounds among the murmuring audience after Béla Pintér’s Our Secrets, performed in the Moore Theater last Friday and Saturday nights. I think it is safe to assume that everyone in the audience was, at the very least, surprised at the intensity of play’s content. While technically accurate, the play’s description on the HOP website–“a hilariously disturbing look at surveillance, sexual desire and folk dancing under communism”–offered little preparation for the weight of the show itself, most notably the graphic pedophilia. Even to the outsider that I am, it was a biting commentary on the far-reaching depths to which Hungary’s communist government asserted its influence during its reign. In the program notes, the performers write that with their story, they hope to question “why none of Hungary’s governments…have made publicly known the list of the communists’ informers.” And after experiencing this weekend’s performance, it is apparent why this question weighs so heavily on modern Hungary.