Magic (prologue and six paintings in verse) by Valentin Avrigeanu

Artistic director: Valentin Avrigeanu
Scenography: Maria Haţeganu
Premiere date: October 8, 1989

A show aimed primarily at young children, but also at those who, as adults, sought to relive the emotions of childhood, "The Tale of the Golden Forest" depicted, through picturesque characters, real or allegorical, the eternal struggle between Good and Evil. The message of the play is concisely formulated by Zamfir:

„"Oh! If only I could find the seed of 'Good' to plant
Cultivate in the soul and from it, let me see how the fruits grow
And in turn they bear fruit... Humanity under the sun
They would love honestly, from the heart..."

Distribution:

Santa Zamfir and Zamfir:  Dorin Presecan
Grandma Catalina and Catalina:  Mariana Presecan
Manole, the owner:  Marcel Segărceanu
The Spirit of the Forest, the Witch:  Ion Ruscut
Tudora, Cătălina's mother:  Alla Tautu
Catrina, Zamfir's mother:  Mariana Vasile
Dobre, villager, friend of Zamfir:  Eugen Tugulea 
Laziness, the Witch's daughter:  Doru Firte
The Thief, the Witch's Daughter:  Ofelia Fîrte
Lie, the Witch's daughter:  Coca Zibilian 
Naparstoc and Voinicel-Voinicul:  Emil Sauciuc
Stan and Ilie:  Doru Firte

Technical director: Elena Varlam
Lighting: Vasile Blejan, Iosif Balogh
Soundtrack and sound design: Stelian Panea

Detective comedy by Pierre Chesnot
Translation: Marica Beligan

Artistic direction: Laurian Oniga
Decor: I. Géza Bíró
Costumes: Gyöngyi Újvárossy Kerekes
Premiere date: October 3, 1989

A New Year's party is being prepared in the castle of Master Lawyer Pascal Aubert-Chatard and his wife, Marie-France, when an uninvited guest appears; it is André Ferrot, a criminal whose defense Pascal gained his reputation in his youth, launching his brilliant career later. Recently escaped from prison, Ferrot asks Pascal to help him leave France and give him a considerable sum of money, blackmailing him on top of that with a secret he discovered by chance. Together with Michel Grosbois, Pascal was involved in a dirty deal with cocoa shares, which resulted in a compromising letter, currently in the possession of Judge Surreau. The letter ends up in Ferrot's hands, so that, amidst waves of champagne, music and dancing, Pascal and Michel frantically look for ways to steal the letter from him, and even kill him to escape the blackmail. After several assassination attempts fail, the two tranquilize Ferrot and throw him out the window, into the snow. The two would-be criminals, flushed with remorse, are greatly astonished and relieved when the next morning Ferrot comes down from his room, a little chilled, not understanding how he could have fallen out the window, but grateful to the extravagant Ludmilla for finding him and bringing him back to his senses. Touched by an unexpected love, Ludmilla and Ferrot leave together, floating in happiness, deciding to get married in Bolivia, forgetting any pretensions or blackmail.

Distribution:

Pascal Aubert-Chatard, famous lawyer:  Stefan Mares
Marie-France Aubert-Chatard, his young wife:  Ileana Iurciuc
Andrei Ferrot, a dangerous escapee:  Nicolae Barosan
Franck Surreau, investigating judge:  Tiberiu Covaci
Michel Grosbois, veros exchange agent:  Petre Panait
Hélėne Grosbois, his wife:  Mariana Neagu
Ludmilla Dessario, widow of the famous painter:  Anca Miere Chirilă, Alla Tautu

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh
Musical illustration and sound design: Valentin Bodonea

Poetry Theater – Marin Sorescu Show
Screenplay: Elisabeta Pop and Petre Panait

Artistic direction, scenography and soundtrack: Ioan Ieremia
Premiere date: May 19, 1989

The one-man-show recital "Sunday people don't have nicknames" represents an incursion into the world of the Oltenia village made through a selection of poems from the four volumes of the "La Lilieci" cycle by Marin Sorescu. It is a show full of humor, zest for life, joy and seriousness, made up of a succession of anecdotes, varying in registers, from sad to comical burlesque. The anecdotes, "little scenes of timeless rurality, in a certain Romanian space" (Valentin Silvestru), shed light, with emotion, on the joys and sorrows of the peasants, their picturesque portraits, the wisdom of the country man - in a word, a colorful human universe. Marin Sorescu's peasants are good-natured, incognito philosophers. They scrutinize everything and ask themselves questions. Their concept of life is clear: here "and here", after death there is beyond, that is, the "other-world". At Lilieci, meaning at the cemetery, the hill with tombs of Bulzeşti, the two worlds meet.

Interpret:  Petre Panait

Technical director: Mariana Goina
Lighting: Mihai Constantin, Iosif Balogh
Sound: Stelian Panea, Sorin Domide

Poetry theater
Love poetry and music performance, based on verses by Pablo Neruda
Translation of the lyrics: Aurel Covaci

Screenplay, artistic direction and performance: Daniel Vulcu
Graphic design elements: Dan Perjovschi
Music: from the compositions of JSBach, H.Villa-Lobos, S.Albeniz, J.Vinas, I.Mairants
Guitar performance: Tiberiu Ciorba
Choreography: Roxana Petrareanu
Dance: Papp Edit
Premiere date: September 8, 1988

Discovering in Pablo Neruda's poetry "a vigor, a pathos, an extraordinary, superhuman power - grafted onto an immense sensitivity", actor Daniel Vulcu performed the recital "The Last Letter" starting from a selection of love poems from the volume "Silk and Metal". As the artist stated in the program of the show, the poems were chosen "in the order that naturally follows: from the eulogy of the adored being, to desire, to the "furies" of cleverly disguised jealousy, from devastating love to impossible forgetting, from the first meeting to the last letter."„

Play in two parts by Paul Ioachim

Artistic direction: Sergiu Savin
Assistant director: Ştefan Mareş
Scenography: Vioara Bara
Musical illustration: László Attila Csompa
Premiere date: June 24, 1989

Endowed with an accentuated realism of the situations, the characters, the language and the proposed debate, the play "Goana" brings to the fore a simple family, of ordinary people: the working, retired father, two sons and a daughter, all three past adolescence, but not yet reaching that of definitive maturity. The apparent peace and harmony, the state of equilibrium that has long reigned in the family hides a dangerous accumulation of tensions, frustrations, nostalgia and disillusionment. The event that triggers the crisis and change is the arrival of Stela, the daughter who had left to seek fulfillment in foreign lands. She returns defeated and poor, and the failure of her adventure illustrates the failure of an erroneous conception of life: the belief that happiness can be achieved without work and by evading elementary social and ethical duties. However, she takes the risk of breaking an established rhythm, of trying to change a destiny that was beginning to become permanent. Stella's arrival stirs up all the bitterness and unfulfillment accumulated over time. From this moment on, each member of the family is forced to reconsider their actions, attitudes and life projects.

The entire problematic of the play is subsumed under the following optimistic conception of the author: "We are all one big, huge family. We are all rushing towards a beautiful, bright life. Where are you going?".

Distribution:

Chivu Manta:  Eugen Tugulea
Sandu:  Stefan Mares
Mark:  Doru Firte
Stella:  Mariana Presecan
Florin:  Dorin Presecan

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Sound: Stelian Panea

by DRPopescu
Absolute premiere

Artistic direction and soundtrack: Ioan Ieremia
Scenography: Emilia Jivanov
Premiere date: May 9, 1989

A polyphonic and stirring spectacle due to the multitude of messages transmitted, "The Powder Mill" captures, in essence, a process of terrible spiritual struggle, projected against the historical backdrop of the peasant uprising led by Horia, Cloșca and Crișan. Gabor, the one who experiences the dilemmatic process, is "a character of Shakespearean strength, put in a position to develop and solve several great problems of humanity" (Valentin Tașcu in "Flacăra pentru minde, inimă și literatură", September 22, 1989). A former musician in Vienna, Gabor becomes an executioner in Deva, by force of circumstances, during the peasant uprising in Transylvania. The process of conscience begins when the victims are no longer the villains, but the peasants of the same blood as him, and the punishment is not dictated by Justice, but by absolute Power, embodied by the Austro-Hungarian Empire. Having reached an age of wisdom, Gabor reconsiders the essential moments of his life, an approach in which memories are selected (some becoming obsessions) and meanings are clarified. Thus, both his condition, as a social outcast, and the world forbidden to him, in which his love for Magda also falls, are increasingly clearly outlined. The dilemmas of conscience take place in the executioner's troubled dream, in which the victims rise from their graves, change their identities, and constantly mix with the real heroes. Confronted with himself, the executioner tries – without success – to duplicate himself, and then he devises something that no one has managed to do before him: to kill the thought (or the dream), a gesture equivalent to a self-execution, the only way to free himself from his victims, but also from himself.

Distribution:

Gabor:  Ion Tomorrow
Magda:  Miriam Cuibus
Popluhard:   Daniel Vulcu
Wenceslas:  Eugen Harizomenov
Novotny:  Petre Panait

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lighting: Iosif Balogh, Mihai Constantin
Sound: Stelian Panea

by Viorel Cacoveanu

Artistic director: Nicoleta Toia
Sets: Emilia Jivanov
Costumes: Maria Hateganu
Musical illustration: Eugen Ghiţulescu
Release date: April 4, 1989

As a "dramatic commentator on the present" (Mircea Ghițulescu, "A panorama of contemporary dramatic literature", Dacia Publishing House, 1984), Viorel Cacoveanu proposes a play about the facts of life, with an undisguised civic and educational purpose or, as the author himself states, a dialogue with history, with the certainties and accomplishments of the past, which over time have become excesses, errors and even crimes.

The central character, towards whom the thesis and moral arguments of the play converge, is Constantin Dabija, long considered responsible not for his own deeds and thoughts, but for those of his father (who, Constantin will also find out with amazement, is not his blood father), a general and dignitary under the previous regime. Therefore, condemned for a fault for which he cannot be held responsible, separated for a while from his family and carrying the burden of a construction site, confronted with the problems that narrow-minded people create for his son, witness to irritating bureaucratic complications, Dabija nevertheless proves a superior understanding and wisdom. From this results his serene attitude to life, his contempt for people like Șerban – „a cog in a gear” – or for the fearful and cowardly, like Axente. That is why he also refuses the idea of leaving for America definitively and the chance of an inheritance capable of changing his life. He will maintain his dignity and hope in any circumstances, he will not let himself be dominated by vindictive tendencies, he will always stand up against any abuse. In his moral profile there is no room for pretense, lies or compromise. "Despite the sufferings of a decade preserved in the collective memory as one of fierce confrontations, but also of summarily assumed errors and obsessions, Dabija will seek and defend his place in society, confident in the establishment of an era in which the only measure of man will be his deeds." (Dumitru Chirilă, "Familia", April 1989).

Distribution:

Constantin Dabija:  Ion Abrudan
Maria Dabija:  Alla Tautu
Mihai Dabija:  Doru Firte
Cornelia Barbu:  Marcel Popa
Dana Barbu:  Mariana Presecan
Dumitru Spataru:  Nicholas Thomas
Tiberiu Axente:  Eugen Tugulea
Eleonora Axente:  Mariana Neagu
Gratian Serban:  Dorin Presecan
Viviana Serban:  Ileana Iurciuc
Jean Popa:  Ion Ruscut
Alexandra Voroneanu:  Simona Constantinescu

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Sound: Valentin Bodonea

Comedy with songs, in two acts by Vasile Alecsandri

Artistic direction: Mihai Raicu
Scenography: Maria Haţeganu
Music: Alexandru Flechtenmacher
Musical arrangements: Florian Chelu and Iosif Trendler
Choreography: Ruxandra Petrareanu
Premiere date: March 10, 1989

„"Chirița in the Province" is perhaps the best-known component of the cycle dedicated to this character of great significance in Romanian literature. The play is built on two directions, Chirița following Grigori Bârzoi's obtaining the position of steward of the land and the marriage of his son Gulita with Luluța, an orphan in her care. Luluța, however, is in love with Leonaș who, through several disguises and ingenious stratagems, manages to marry the chosen one of his heart and take over the position of steward that Bârzoi abused.

In her small provincial town, Chirița poses as a promoter of new Western trends and manners: she receives letters only on a tray, rides horses and smokes because it is fashionable, dresses her husband "German", tries to style Ion the courtier. Next, she is determined to emigrate to Paris, which she imagines she will conquer with the title of baroness and with learned French "toute seulette" and practiced in extremely tasty conversations with "Monsieur Șarl", Gulita's tutor. The play ends with Bârzoi's forced "resignation", with Leonaș's engagement to Luluța and with Chirița's farewell party, who has obtained a passport for the "states of Europe" and starts from her perfect provincialism in the assault on the West.

Distribution:

Miss Chiriţa:  Anca Miere Chirilă
Grigori Bârzoi, her husband:  Marcel Segărceanu
Gulita, their child:  Emil Sauciuc
Luluţa, orphan:  Cristina Sarac
Safta, Birzoi's sister:  Mariana Vasile
Mr. Charles, French teacher:  Laurian Jivan, Ion Abrudan
Leonaş, young man from Iaşi:  Nicolae Barosan
Ion, boyar's son:  Tiberiu Covaci
Peasants, gendarmes, come to the table:  Sorina Laza, Iuliana Murea, Gheorghe Iernea, Alexandru Luca, Olimpiu Domide, Iosif Szilágyi

Technical director: Mărioara Goina
Prompter: Iuliana Murea
Lights: Iosif Balogh
Sound: Stelian Panea

Comedy in two parts by Emil Braghinski
Translation: Denisa Fejes
National premiere

Artistic direction: Sergiu Savin
Scenography: Vioara Bara
Musical illustration: Gheorghe Hausmann
Premiere date: December 8, 1988

„"The Adventurer", a realistic and at the same time lyrical comedy, depicts how the unusual suddenly descends into everyday life, changing the seemingly normal life of the play's heroes. Mathematician Oleg Nikitich Pevtsov enjoys a well-established position both in the scientific world and in society. His personal life - with a superficial wife from whom he separated and two daughters, who live sometimes with him, sometimes at his mother's villa - is not a success, but this does not weigh him down. The coordinates of his life are work, his friend Suhariov, a doctor of hippology, and their game of escape into the wonderful world of the clowns Bim and Bom. After long hours of intellectual effort (scientific sessions, doctorates, congresses, TV shows), the two scientists find their youth, or even childhood, taking refuge in a creative, spiritual, ingenious game, full of humor and fantasy. Through play, they clarify all sorts of aspects of their personal lives, name sensitive issues, make decisions, and learn to look at the world with better, more generous eyes. For them, play is not only disconnection and fun, but also unpredictable, strategic, and logical.

So, Pevtsov's life is going normally, when Elena Kirilovna Lebedeva arrives from the small town of Yuzhansk, claiming that Tolya, her 13-year-old son, is Pevtsov's son. Her appearance disturbs the mathematician, as does everyone in the house. Little Tolya shows special aptitude for mathematics, and Elena Lebedeva tries, albeit tactlessly and without skill, to get help for her son. With perseverance and unbeatable logic, she breaks down almost all the obstacles that stand in her way, but in the end she is forced to admit defeat and return to Yuzhansk with her son. Pevtsov's life, however, can never be the same after this strange visit, which changes his bearings. He leaves for Yuzhansk to find Elena. She becomes Bim, a sign that Pevtsov has welcomed her into his heart and into his world, into his life of charming play.

Distribution:

Elena Kirilovna Lebedeva, doctor:  Mariana Vasile
Oleg Nikitich Pevtsov, mathematician:  Eugen Tugulea
Valea, lawyer:  Mariana Neagu
Marina, student:  Mariana Presecan
Pavel Veniaminovich Sukharev, Pevtsov's friend:  Ion Abrudan
Mahonkov, Valea's lover:  Dorin Presecan
The young man, Marina's lover:  Dan Vura

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lights: Iosif Balogh
Sound: Stelian Panea

Play in three acts by Paul Everac

Artistic director: Ion Mainea
Scenography: I. Geza  Bíró
Musical illustration: Gheorghe Hausmann
Premiere date: October 11, 1988

Subtitled "Essay on Personality", the play "The Room Next Door" is dedicated to a meditation on the premises and ways of preserving human existence, but also on the forms of its perversion, on truth and mystification in individual and social existence.

The pivotal character of the drama is biologist Pavel Cristian – an uncompromising, sincere, selfless character, representing steadfastness in principles, consistency in ideals. He is the tenant of the room next door, which the members of the Bondoc family (Marcel, his wife, Alina and daughter, Mira) want to occupy, opportunists, philistines, chameleons, people of momentary relationships, speculators of the conjuncture; each is convinced that only in that room and only when they occupy it will they be able to fully realize themselves. As Natalia Stancu observes in „Scânteia” of January 28, 1977, the „room next door” becomes a metaphor, suggesting, in turn: the prevalence of material ideals, the space of man’s initial purity, the space of authentic living, etc. For Mihai Gafița (vol. "Three Pieces - Essay"), "the next room is a repository of our pure representation of life, a permanent reservoir of trust in the world and its great, known or still mysterious laws."„

Distribution:

Marcel Bondoc:  Ion Tomorrow
Alina Bondoc:  Simona Constantinescu
Mira Bondoc:  Ileana Iurciuc
Teofil Hotaranu:  Doru Firte
Pavel Christian:  Eugen Harizomenov
Sonia Cristian:  Mariana Vasile
Benjamin Flavius:  Ion Abrudan
Stoleru's salary:  Mariana Neagu
On the violin:  Eta Széll Patka

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Valentin Bodonea

Poetry Theater – Mircea Dinescu Show
Selection of lyrics: Elisabeta Pop
Artistic direction and scenography: Sergiu Savin
Premiere date: March 29, 1988

Interpreters:
Ion Abrudan, Mariana Presecan, Eugen Harizomenov, Dorin Presecan

Invited:
Mircea Dinescu, Radu Enescu, Jazz Orchestra Creative duo from Constanta: Harry Tavitian and Corneliu Stroe

Poetry theater
Selection of lyrics: Elisabeta Pop

Artistic director: Eugen Harizomenov
Scenography: Maria Maliţa
Music: from the compositions of WAMozart
Musical arrangements: Erasmus Minchevici
Premiere date: January 21, 1988

Taking the title of a poem by Adrian Păunescu, the tribute show "Longing for Eminescu" was constituted as an anthology of the poet's masterpieces, most of them antonymous, outlining, as Viorel Horj observes, "Eminescu's Neptunian face". "The primacy of the calm, consolidated value of the text also imposed the elegant note of the utterance in an ambiance of a true poetry salon. In order to "open" the recital and give it a spectacular addition, the director proceeded with several "insertions" consisting of the lyrical appreciation of contemporaries and two voices from the golden phonoteca: Sadoveanu and Vraca". ("Crișana" of February 17, 1988).

Interpreters:
Simona Constantinescu, Ileana Iurciuc, Mariana Vasile, Mariana Presecan, Ion Mainea, Ion Abrudan, Emil Sauciuc, Ion Ruscut, Dorin Presecan

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Sound: Valentin Bodonea

Musical comedy in two parts by Carlo Goldoni
Translation: Tudor Muşatescu

Artistic director: Nicoleta Toia
Scenography: Vioara Bara
Musical adaptation: Nicoleta Toia and Camil Georgescu
Musical arrangements: Sándor Ari Nagy
Stage movement: Gitta T.Săteanu
Premiere date: June 5, 1988

To marry off one's daughter through a competition for suitors, announced in the Little Advertisement and on all the walls of Paris, is, for Pandolfo, an Italian merchant who rose from a poor servant, an intelligent gesture, inspired by London fashion, which he knew all too well. The daughter offered through the competition, Lisetta, is however mortally offended by her father's idea of turning her into a commodity, all the more so since she is in love with Filippo, the owner of the inn where they live in Paris. The love is mutual and passionate, but Pandolfo does not even want to hear about the relationship with an innkeeper. Although scandalized, the good society of Paris passes by Pandolfo's inn, more out of curiosity to see the girl and the father who had such a wicked idea. Anselmo, Pandolfo's former master, and his daughter, Doralice, also of marriageable age, live at the same inn. As is natural in a Goldonian comedy, the two girls are constantly confused by suitors, the suitors get confused with each other, the fathers are also mistaken for each other, until no one knows who they love and who they want to marry. Filippo devises a prank by which, posing as a German colonel, he wins Pandolfo's sympathy and obtains, incognito, the hand of his daughter. In the end, things are clarified with the selfless help of Mrs. Fontaine, and from the competition organized by Pandolfo, the most successful is Doralice, who also finds a wonderful husband, in the person of Roberto. The two weddings will be celebrated in parallel, right at Filippo's inn.

Distribution:

Philip:  Dorin Presecan
Lisette:  Mariana Vasile
Pandolfo:  Tiberiu Covaci
Anselmo:  Marcel Popa
Doralice:  Mariana Presecan
Robert:  Emil Sauciuc
Mrs. Fontaine:  Alla Tautu
At Rose:  Ion Abrudan, Laurian Jivan
Crossing:  Nicolae Barosan
The Servant, the Newspaper Boy and the Waiter:  Daniel Vulcu

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Sound: Stelian Panea, Valentin Bodonea

Comedy in two parts by William Somerset Maugham
Translation: Andrei Bantaş

Artistic director: Ştefan Farkas
Assistant director: Ion Mainea
Scenography: Maria Haţeagnu
Musical illustration: Ioan Danko
Premiere date: April 28, 1988

Focused on the classic theme of the love triangle, the comedy "How to Win a Man?" depicts the ingenious stratagem through which Penelope seeks to regain the attention and affection of her husband, Dick, a renowned doctor, involved in a romantic affair with the attractive Ada Fergusson. Although at first she is determined to "make a scene" with her husband and ask for a divorce, Penelope accepts the surprising but wise advice of her father, the mathematician Golightly. She begins to behave as if her husband's affair were a perfectly normal fact, seems to tacitly accept it, and moreover, pushes the two of them as much as possible towards each other, facilitating their meetings. At the same time, she sells her love dearly, becomes cold, distant and forgets more and more of her habits as a loving wife. The whole plan is not slow to bear fruit. Intrigued and disturbed by Penelope's too calm and natural attitude and suffocated by Ada's demands, including financial ones, Dick, overcome with remorse, becomes once again the faithful, attentive and loving man he once was, moved by the best intentions to win back his wife.

Distribution:

Penelope:  Ileana Iurciuc, Mariana Presecan
Dr. Dick O'Faarell:  Nicolae Barosan
Professor Gollighty:  Marcel Segărceanu
Mrs. Gollighty:  Alla Tautu 
Mr. Davenport Barlow:  Marcel Popa
Ada Ferguson:  Mariana Neagu
Mr. Beadsworth:  George Voinese, Petre Panait, Laurian Jivan, Ion Mainea, Ion Ruscut
Patty:  Florence Manea, Luminita Praja

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh
Sound: Stelian Panea

Comedy in two parts by Giovanni Maria Cecchi
Translation: Eta Boeriu
National premiere

Artistic direction: Sergiu Savin
Assistant director: Eugen Harizomenov
Scenography: T.Th.Ciupe
Musical illustration: Erasmus Minchevici
Premiere date: March 26, 1988

Circumscribed to the Italian cult comedy of the Renaissance era, the play "The Wiles of Love" offers an avalanche of confusions, ingenious combinations, funny tricks and novel entanglements, all having as their central axis the tribulations of love. In the Prologue, the author confesses that he was inspired by a real incident, which happened in Pisa, thus becoming a mirror of life during the Renaissance period. The play sets in motion an old husband (Messer Ambrogio), a young and charming wife (Oretta), her sister, endowed with the same qualities (Violante), and two fiery young men, determined to take advantage of the situation (Giulio and Rinuccio).

 „"The main meaning of Cecchi's work is that human nature needs harmony, balance, broken in this case by an inadequate marriage, in which the partners are too far apart on the scale of life to be able to agree on ... all that. Oretta's adulterous impulses are not condemned, they come as an attempt to restore the balance broken by Ambrogio both through the selfish marriage and through the licenses he still allows himself. But it has been known for ages: a deceived wife is a victim, a cuckolded husband - a laughingstock, so the loser in all this mess will be Ambrogio, the youth (Oretta, Violante, Giulio and Rinuccio) cashing in their rights in abundance." (Dumitru Chirilă in "Familia", May 1988).

Distribution:

Messer Giulio:  Dorin Presecan 
Messer Rinuccio:  Ion Ruscut
Messer Ambrogio:  Petre Panait 
Madonna Oretta:  Mariana Presecan
Madonna Violante:  Mariana Neagu
Giorgetto:  Eugen Harizomenov
Gianella:  Tiberiu Covaci
Madonna Verdi:  Alla Tautu
Madonna Agnola:  Mariana Vasile
Uguccione:  Laurian Jivan

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lights: Iosif Balogh
Sound: Alexandru Tudose

by Frank Wedekind
Translation: Simion Danila
National premiere

Artistic direction: Laurian Oniga
Scenography: Maria Maliţa
Soundtrack: Mircea Piciu
Premiere date: February 2, 1988

Considered by critic Mircea Morariu as a character study, the play "The Master Singer" resumes the debate on the issue of the artist's condition in society. "The modernity of the text lies in the very special way in which the theme is presented. Gerardo, the protagonist of the play, is no longer the marginalized artist, the misunderstood aspirant to celebrity, condemned to fight to affirm his value; a Wagnerian singer of great talent, he is a public idol, a kind of "luxury item" for the fashionable world, a slave to success that leads him to dehumanization. He is a simple puppet performing a mechanical ballet meant to show him in a counterfeit grandeur to the superficial and blasé world that idolizes and devours him. The self-imposed vitality, the controlled arrogance, the false halo that make him remain under the glass bell that suffocates his personality, counterpointed by the encounter with the "intruders" who threaten the hero's safety and inhuman coldness, create a nightmarish atmosphere around him." (Mircea Em. Morariu in "Steaua" no. 3/1988).

„"Assailed by admirers – from excited girls to fellow actors who would like to establish an artistic dialogue, making him the depositary of their trust – Gerardo proves incapable of any relationship, the brilliant interpreter of Tristan, Tannhäuser or Siegfried being in "civilian" a depersonalized individual, subject to the point of slavery to contracts, professional obligations, conventions of all kinds that not only take up every bit of his time, but have annihilated him spiritually, confining him to a simply amoral egoism. In fact, the play consists of three revelatory encounters for the configuration of the titular hero (as an emotional handicapper, executioner and victim at the same time), and decisive for the three partners, namely a teenage girl who confuses the character with the interpreter, letting herself be seduced by the brilliance of the former and ready to fall into the arms of the latter; an old, unfulfilled musician – eager to obtain an authoritative opinion on his work, to break the wall of indifference that he has been struggling against for a lifetime; and a woman in her prime who loves him totally, irreducibly and, in the end, fatally. In each of the three dialogues, Gerardo will prove incapable of communication and understanding. Lucid at times („We, the artists, are a luxury item of the bourgeoisie”), sketching a timid protest („My chains are tighter than the harness of a carriage horse”), but ultimately converting everything into vanity and self-admiration („I do not belong to myself, I belong to my art„), he persists with delight in voluntary slavery where there is no room for either love or understanding.” (Dumitru Chirilă in ”Familia„, March 1988).

Distribution:

Gerardo:  Daniel Vulcu
Mrs. Helena Marowa:  Eniko Kovacs
Professor Dühring:  Marcel Segărceanu
Miss Isabel Koeurne:  Lioara Bradu
Voices:
Muller:  Marcel Popa
The servant:  Nicolae Barosan
The lift driver:  George Voinese

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh
Sound: Alexandru Tudose

Absolute premiere by Tudor Popescu

Text selection, collage, light-designing and artistic direction: Alexandru Darie
Scenography: Maria Miu
Paintings executed by Iosif Kudelász, Amalia Perjovschi, Catherine Kovacs, Maria Miu
Musical illustration: Gheorghe Hausmann
Premiere date: December 29, 1987

„"Ten Laughter" is a selection made by the author himself from the multitude of skits, theatrical sketches and satirical moments created over time. In the generous formula of "theater within theater", a series of sketches, satirical pills are assembled, a pretext for the author to launch theoretical considerations in various registers, on the theme of the actor's personality, of transvestism, of the meaning of theater in general. The scenic binder of the pills is of Pirandellian origin: a theater director unfolds fragments of the life of the collective he leads in front of a reporter. Justifying this part of the show, Tudor Popescu confesses in the program of the show: I tried to write a play in which the life of the theater would be shown directly, "told" with humor and sweet irony and in which my love for all those who serve it would be felt, but especially for those who are "theater itself", as I like to say: the actors. "Ten Laughs" is not written (in the part that refers to the theater) in a satirical key, with the ducal humor dominating. Satire is taken refuge in pills and it does not refer to the world of theater."”

Indeed, the skits, entitled: "Love in the Workplace", "The Right Time", "The Beast", "The Funeral Speech", "The Gifts", "Love in a Beautiful Act" and "The Silver Fish" have a pronounced satirical tone, the underlying texts being written by IL Caragiale, Teodor Mazilu, Aurel Baranga, Ion Băieșu and Tudor Popescu himself. They set in motion two or three characters and constitute small comic moral radiographs, denouncing opportunism, the deception of good faith, small arrangements, linguistic clichés, the stereotypes of officials, half-doctrine and stupidity.

Initially, the premiere of the show was banned by the communist censorship committee, which considered the creation subversive. After several changes to the text and directorial vision, after a series of tweaks and several viewings, the show was presented with only eight pills in its structure allowed by the authorities, but even so, it was a great success.

Distribution:

Love in the workplace
It:  Mariana Vasilit is
He:  Daniel Vulcu
Bridge:  Petre Panait

The right moment
Cassian:  Laurian Jivan
Host:  Marcel Segărceanu

beast
Sitar:  Ion Tomorrow
Bridge:  Petre Panait

The funeral oration
Florentine:  Florence Manea
Lica:  Nicolae Barosan
Vic:  Laurian Jivan, Daniel Vulcu

The gifts
Dance:  Mariana Vasile
Costel:  Ion Tomorrow

Love for a beautiful gesture
Hortensia:  Mariana Neagu
Gogu:  Daniel Vulcu

In vino veritas
Lisa:  Simona Constantinescu
Amalia:  Mariana Vasile
The river:  Nicholas Thomas

The silverfish
Aglaia:  Simona Constantinescu, Alla Tautu
Gentle:  Nicolae Toma, Petre Panait
The director:  Ion Tomorrow
Reporter:  Alla Tautu, Ileana Iurciuc
The director:  Marcel Popa
Superstar:   Alla Tautu, Simona Constantinescyou
So:  Nicolae Barosan

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh
Sound: Valentin Bodonea

Comedy in two acts by ILCaragiale

Artistic direction: Laurian Oniga
Scenography: Maria Maliţa
Premiere date: December 11, 1987

„"A Stormy Night", the well-known play by IL Caragiale evokes a not too distant and not at all idealized time, a time when human characters mirror absolutely hilarious morals and situations, worthy of highlighting, since we can find current typologies, doing just a small recognition exercise. Captain Dumitrache Titircă, also known as Inimă-Rea, a captain in the Civil Guard and a liberal political activist, is a man who respects himself and wants to be respected, especially in his "honor as a family man". Very outraged by the "vagrants" who have filled the world, Dumitrache tells his friend Nae Ipingescu how for two weeks, an "employee" has been burning his days, looking for ladies: Veta - his wife and Ziţa - his sister-in-law. Veta, however, married at a young age to Dumitrache, a "coptic" man, has an affair with Chiriac, the captain's trusted man. The comic climax is reached when from the street, Dumitrache, who is doing his night patrol, shouts to Chiriac, tightly embraced by Veta, to watch over his honor as a family man.

The second act is explosive and the adventures follow one another at a dizzying pace. Accidentally entering Veta's room in the dark, Rică Venturiano, Zita's admirer and none other than the "tramp" pursued by Dumitrache, is helped by Veta to escape the wrath of her jealous husband. In the end, the intruder is caught, but everything ends well. For Dumitrache, the alliance through Zita's marriage to Rică, a law student and ardent publicist, seems salutary. When things seem to have calmed down and the storm caused by a reversed house number is completely calmed down, Master Dumitrache has one last jolt of "ambition", taking out of his pocket the necktie found in his wife's bed. Chiriac, however, gives the necessary explanations: "Yes! Come back, master; that's my tie, don't you know?". The great subtlety lies in the fact that we will never know whether Dumitrache knows this spicy truth about his family life or not.

Distribution:

Master Dumitrache Titircă the Evil-Hearted:  Eugen Tugulea
Nae Ipingescu:  Ion Tomorrow
Chiriac:  Tiberiu Covaci
Spyridon:  Eugen Harizomenov
Rica Venturiano:  Petre Panait
Veta:  Anca Miere Chirilă
Zita:  Ileana Iurciuc

Technical director: Elena Varlam
Prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Valentin Bodonea