This study examines Endre Marton’s 1971 production of The Last Days of Csák through the lens of the Philther method. First, I explore how Imre Madách’s early tragedy fits within the theatrical trends of the 1960s and 1970s, a period when several Hungarian theatres sought to reinterpret and stage works from the 19^th-century Hungarian dramatic canon. The Last Days of Csák emerged as a focal point of socialist realist re-canonisation efforts, as evidenced by its inclusion in the National Theatre’s 1972 celebratory week dedicated to classical Hungarian dramas. Second, I analyse the roles of three key contributors—director Marton Endre, dramaturg Dezső Keresztury, and lead actor Imre Sinkovits (portraying Máté Csák)—in shaping both the production and its cultural legacy.