Comedy by Ion Băiesu

Regia artistică şi ilustraţia muzicală:  Radu Băieşu
Scenography: Vioara Bara
Data premierei:  8 octombrie 1987

„În personajul central al piesei – Grămescu – recunoaștem un tip frecvent în comediografia actuală: insul care ia de la societate cu amândouă mâinile fără să dea în schimb nimic. Parvenit pe o anume treaptă socială – în cazul de față șef peste cooperația meșteșugărească a unei localități – specimenul pierde orice control asupra propriului egoism, instaurându-se stăpân peste subalterni (și peste … veniturile lor ilicite), schimbând secretarele după impulsurile erotice și menținându-și unitatea conjugală prin confortul material creat. În aceste condiții, instinctul de conservare se hipertrofiază, grija pentru escamotarea adevărului, pentru păstrarea poziției și implicit a bunurilor câștigate prin ea, devenind preocuparea aproape exclusivă. Vizitele succesive și sub măști diferite ale anchetatorului Turbatu pun în lumină deruta existențială a lui Grămescu, absurdul acestei existențe bazate pe insațietate, pe pofta nelimitată de acaparare și pe teama consecutivă acesteia. Hazul, caraghioslâcul, grotescul situației rezultă din contradicția dintre scop și consecințe: în loc să producă liniște și satisfacție, scopul atins devine generator de spaime și de servituți, dar odată intrat în acest circuit al alienării, al dezumanizării, individul nu se mai poate sustrage, va acționa ca un mecanism aberant, îndreptându-se spre un eșec implacabil.” (Dumitru Chirilă, în „Familia”, octombrie 1987).

Distribution:

Grămescu:  Eugen Harizomenov
Elvira:  Mariana Vasile
Păsculete, Groapă, Turbatu:  Eugen Tugulea
Nuţi:  Mariana Presecan
Bubu:  Emil Sauciuc
Gigi:  Dorin Presecan
Vava:  Ion Ruscut
Vica:  Anca Miere Chirilă

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lights: Emeric Kozák
Sonorizare:  Marius Munteanu

Café-théâtre
Caragiale reading-performance (sketches, lyrics, scenes from plays and an act from the comedy Smotocea and Cotocea by Ştefan Cazimir), preceded by the symposium Caragiale for everyone, organized in collaboration with the Oradea Municipal Library
Screenplay: Elisabeta Pop
Artistic director: Eugen Harizomenov
Premiere date: June 29, 1987

The show was organized to commemorate the 75th anniversary of IL Caragiale's death and was complemented by an exhibition in the Theater Foyer, which featured editions of the opera, posters, program booklets and photographs from performances of Caragiale's plays performed over time.

Interpreters:
Simona Constantinescu, Mariana Vasile, Mariana Presecan, Eugen Harizomenov, Ion Mainea, Eugen Tugulea, Marcel Segărceanu, Ion Abrudan, Marcel Popa, Laurian Jivan, Dorin Presecan, Ion Ruscut, Tiberiu Covaci, Emil Sauciuc, George Voinese, Petre Panait

Musical illustration: Marius Munteanu

Poetry Theater – Show Şt.Aug.Doinaş
Selection of lyrics: Elisabeta Pop
Artistic direction and scenography: Sergiu Savin
Premiere date: May 30, 1987

„"An encounter with the poetry of one of the most important living Romanian poets – Ștefan Augustin Doinaș – is a celebration and a real reason for joy for the inhabitants of any Romanian city. For the people of Oradea, an added source of pride, since the poet has been, all these years, the permanent collaborator of the magazine "Familia". Recently, the poet Mircea Dinescu said about Doinaș that "he is not only a great poet... but also a creator of masterpieces such as do not exist here or anywhere else at this time." ("Crișana", year XLII, no. 12500, May 27, 1987)

Interpreters:
Cristina Şchiopu, Mariana Vasile, Mariana Presecan, Alla Tăutu, Eugen Harizomenov, Ion Abrudan, Tiberiu Covaci, Eugen Ţugulea, Dorin Presecan, Ion Ruscut, Emil Sauciuc, Florian Chelu

Invited:
St. August Doinas, Mircea Dinescu, Radu Enescu, Mircea Albulescu

Poetry Theater – Mihai Eminescu Show
Screenplay: Elisabeta Pop and Sergiu Savin
Premiere date: January 13, 1987

The tribute show dedicated to Mihai Eminescu began with an introduction to the poet's work, including references to Eminescu's early work, critical notes and praises from contemporaries. The most substantial part of the recital was made up of a selection of poems, most of them posthumous, their lyricism and nostalgic accents being enhanced by the accompaniment of the Oradea State Philharmonic Chamber Orchestra.

Interpreters:
Cristina Şchiopu, Ion Abrudan

Invited:
Ovidiu Iuliu Moldovan, Aurelian Octav Popa (clarinet)

by DRPopescu
Absolute premiere

Artistic direction and scenography: Sergiu Savin
Assistant director: Eugen Harizomenov and STEFAN Farkas
Decorative painting: Maria Minchevici
Premiere date: July 8, 1987

A thematic continuation of the plays "The Balcony", "Skakespeare's Bird" and "Like the Mulberry Leaf in Heaven", "Sleeping on a Snake" is a drama of conscience that raises the same questions about the need for truth in interpersonal relationships. The development of the conflict is passionate, including murders, attempted murders, adultery, and consuming loves, but the emphasis is not on the epic, but on the ethical.

Ilarie, a former revolutionary and hydroelectric power plant builder, has abandoned his ambitions and ideals, taking refuge in a world of torpidity, guilt, and perverted values. He is married to the much younger Ella, who has an illicit love affair with Tavi. Re-enacting the mythical triangle Agamemnon-Clytemnestra-Aegisthus, the young people plot and carry out the murder of their old husband. However, as Ion Cocora (Tribuna, September 24, 1987) notes, the crime cannot be entirely justified by the passion of adulterous love, but is favored by an existential climate degraded in all its levels. However, beyond the omnipresent guilt, the unpredictable trajectories, the deformations and aberrations, through love, the two access a state of grace that allows them to see and speak the truth.

As in any polysemantic creation, the subject of the play is the "base of access to the symbolic plane" (Marian Popescu, in the program of the show). The equivocation is introduced from the beginning, through the three subtitles of the play ("The bed of fire", "The man who brings snow", "On this green seashore"), which testify to both its poetic valences and polemical intentions. The biblical allusion is not missing from the title either, referring to the existential condition of man after the loss of paradise. "To sleep on a snake can mean living in guilt and unconsciousness, outside moral laws, to be in ethical disorder, in imbalance, to deviate from the elementary obligations imposed by the norms of behavior, to cheat one's existence, degrading it into lies, compromises and cowardice." (Marian Popescu, in the program of the show).

Distribution:

Hilarie:  Eugen Tugulea
Anton:  Ion Abrudan
Georgette:  Alla Tautu
Darcopol:  Ion Tomorrow
Ella:  Cristina Schiopu
Thank you:  Marcel Segărceanu
Trays:  Petre Panait
Capisizu:  Laurian Jivan

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Musical illustration and sound design: Marius Munteanu

de Hubay Miklós
Premieră pe ţară  în limba română
Traducerea: Elisabeta Pop, Attila Fekete, Otto Szombati Gille

Adaptarea scenică şi regia artistică:  Dan Alecsandrescu
Assistant director: Eugen Ţugulea
Scenography: Emilia Jivanov
Aranjamente muzicale şi interpretare:  Florian Chelu
Data premierei:  26 februarie 1987

Având alura unui poem dramatic, „Cele trei nopți ale unei iubiri” este o piesă simbolică și poetică, a cărei acțiune este proiectată pe fundalul tragic al celui de-al Doilea Război Mondial. Piesa deapănă firul poveștii de dragoste, emoționante prin efemeritatea ei, dintre Iulia și Balint-Poetul. Tinerii căsătoriți locuiesc într-o imensă casă goală din Budapesta, însă oaza lor de liniște se dovedește iluzorie. Cei doi și grupul lor de prieteni boemi se intersectează cu reprezentanții lumii din afară – Judecătorul și soția lui, Căpitanul, Responsabilul cu alarma aeriană și alții – aducători de premoniții sumbre. Într-adevăr, Balint va fi forțat să plece în război și nu se va mai întoarce. În urmă el lasă o existență scurtă, dar plină de ardoare: a iubit pasional, a legat prietenii adevărate, a fost generos, sincer, pur. Moartea sa absurdă nu curmă numai povestea de dragoste, ci anulează potențiala operă a Poetului ce va rămâne fără biografie.

Din piesă răzbate vocea unui umanist care spune un NU hotărât războiului, catastrofelor și traumelor pe care le implică acesta, astfel încât „Cele trei nopți ale unei iubiri” dobândește o deschidere spre universalitate, prin accentele sale de tragedie modernă.

Distribution:

Bálint:  Daniel Vulcu
Julia:  Mariana Presecan
Viktor:  Nicolae Barosan
Doctor Szegilongi Lajos:  Ion Tomorrow
Melitta:  Cristina Schiopu
Henker Frigyes:  Ion Abrudan
Sándor:  Emil Sauciuc
Károly:  George Voinese
Responsabilul cu alarma aeriană:  Marcel Segărceanu
Cei trei crai de la Răsărit:  Tiberiu Covaci, Laurian Jivan, Dorin Presecan
Florist:  Ileana Iurciuc
Csilla:  Mariana Vasile

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

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

Direction and scenography: Sergiu Savin
Musical illustration: Erasmus Minchevici
Premiere date: December 23, 1986

The plot of the comedy "Marriage Fashion" centers around Victoria Lowndes, a young, attractive woman, but more concerned with herself than with the well-being of others. Her husband, William, was reported missing and presumed dead in World War I. But, in reality, William is very much alive and is heading to London to find his wife. He is unaware of the changes that have occurred in his family without his will: Victoria has married Frederick, William's best friend, and is already considering a third husband, a wealthy industrialist. The twists and turns that follow highlight William and Frederick's efforts not to win Victoria's favor, but to get rid of her...

Distribution:

Victoria Lowndes:  Cristina Şchiopu, Mariana Presecan
Major Frederick:  Ion Abrudan, Dorin Presecan
Major Cardew:  Petre Panait 
Mrs. Shutterworth:  Anca Miere Chirilă, Simona Constantinescu
Leicester Paton:  Eugen Harizomenov
Taylor:  Laurian Jivan, George Voinese
Raham:  Ion Tomorrow
Miss Montmorency:  Alla Tautu

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Marius Munteanu

Almost a farce by Mircea Radu Iacoban

Artistic director: Dan Alecsandrescu
Scenography: Adriana Grand
Premiere date: October 7, 1986

« …an old mechanic was hammering the wheels. „Why are you hammering, father?„ I asked him. ”Besides, I’ve been hammering them for four years. And I forgot why» » (Grandfather).

„"It's Raining in Sovata" is a sad comedy that focuses on a group of petty officials, routined to the point of losing their identity, bored, robotic and terrorized by their boss. Their entire youth died in the suffocating office, their entire life passed in procrastination, demoralization and apathy. A window located too high, which everyone wants to open and which always closes by itself announces the breaking of conventionalism and freezing in patterns. The event that takes them out of their deadly routine is the arrival of the Citizen (an anonymous one, because they cannot see him through the small windows of the counters). Regaining their humanity, they realize that life has flown by while they have endlessly collected numbers and formulas. It is the moment when all the pains, unfulfillments, secret dreams come to light. Like Gogol or Dostoevsky, behind insignificant people lies subtlety, depth, tenderness, but also destructive anger.

Ultimately, the play does not lament individual destinies, but man's alienation from his essence in an increasingly hurried, superficial world, man's loneliness among his peers who have forgotten to listen to him.

Distribution:

Date:  Marcel Segărceanu
Nectar:  Mariana Neagu
Severina:  Mariana Vasile
Valenţica:  Ileana Iurciuc
Theophilus:  Emil Sauciuc
The boss:  Nicolae Barosan
Feather:  Eugen Tugulea
The waiter:  Ion Ruscut
The citizen:  Tiberiu Covaci
Mr. X:  Marcel Popa

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lights: Emeric Kozák, Iosif Balogh
Musical illustration and sound design: Valentin Bodonea

by Platon Pardau

Artistic director: Dan Alecsandrescu
Scenography: Emilia Jivanov
Premiere date: September 16, 1986

„"The Ioneștii" is a drama with little conflictual substance, in which the emphasis is not on events, but on the debate centered on the family. A play-discussion, a play-confession, "The Ioneștii" brings to the forefront the conflict between generations, but also the one between aspirations and real possibilities.

„"The small clan of the Ionești – Ioan-father, Ana-mother, Nicolae-son and Vera-daughter – leaves the impression of a small citadel of accomplishments, happiness or even of a nature to arouse envy or even suspicion. The anonymous voice that frequently calls the phone to reproach, to insult or to threaten, has an oracular meaning, but rather draws attention to the fact that harmony is not all-pervading in the Ionești house, that many conflicts are latent here and, moreover, will erupt upon learning of a piece of news that falls like a bolt of lightning: Ioan Ionescu has resigned from the position of deputy director of a large metallurgical plant, a position he had held since the plant was born and with which he seemed "wedded" for life. Moreover, his last act of authority is the blocking of his own son's access to an important position (…). Once the pebble is thrown, the avalanche will start: imputations, revelations, regrets, crises of conscience. The four will prove to be the owners of "loaded" biographies, each having a fault - real or invented, depending on the way they see the world - towards the others and - obviously - each having the right to compensation." (Dumitru Chirilă in "Familia", October 1986).

Distribution:

John Ionescu:  Eugen Tugulea
Anna:  Simona Constantinescu
Nicholas:  George Voinese
Vera:  Mariana Vasile

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lights: Emeric Kozák, Iosif Balogh
Sound: Valentin Bodonea

AWARDS:
– Interpretation Award at the National Festival "Singing Romania": Eugen Ţugulea for the role of Ioan Ionescu

Poetry theater from verses by Marin Sorescu
Screenplay: Elisabeta Pop
Artistic direction and scenography: Sergiu Savin
Premiere date: March 25, 1986

Interpreters:
Cristina Şchiopu, Alla Tăutu, Mariana Vasile, Eugen Harizomenov, Ion Abrudan

Guests in the show:
Marin Sorescu, Virgil Ogasanu, Ion Caramitru, Nicolae Moranciu

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Emeric Kozák

Comedy in two parts by Barillet and Grédy
Translation: Angela Plati

Artistic direction:  STEFAN Farkas
Scenography: Vioara Bara
Premiere date: July 3, 1986

Affiliated with the boulevard theater, the comedy "Cactus Flower" was a notable success both in Europe and in America, where it ran on Broadway for three years and was adapted into two films, in 1968 and 2011.

As in any comedy of this kind, the issues addressed, not at all fundamental to the destiny of humanity, can become crucial for the microcosm of the average individual. The pretext for the avalanche of comic events is love. Julien Desforges, a prosperous dentist, has a romantic affair with the young and charming Antonia, but in order to avoid too much involvement and responsibility, he imagines a marriage, and even three children. After a failed meeting, Antonia attempts suicide, but is saved by Igor, a young and nice neighbor. Filled with remorse, Julien claims that he will get a divorce urgently, but Antonia wants to meet the future ex-Mrs. Desforges. To stage the elaborate lie, Julien asks for the support of Stéphane, his model assistant, very efficient and belonging, at least in appearance, to the "cactus" type. The events that will follow will prove to him that, surprisingly, cacti can also bloom...

Distribution:

Igor:  Daniel Vulcu
Antonia:  Ileana Iurciuc
Stephane:  Mariana Neagu
Madame Durand Bénéchole:  Anca Miere Chirilă, Alla Tautu, Mariana Vasile
Julien:  Nicolae Barosan
Norbert:  Tiberiu Covaci
Mr. Cochette:  Marcel Popa
Botticelli's Spring:  Florence Manea

Technical director: Elena Varlam
Prompter: Florence Szabo
Lights: Iosif Balogh, Emeric Kozák
Musical illustration and sound design: Valentin Bodonea

Two-part play by Peter Shaffer
Translation: Beatrice Staicu

Artistic direction and light design: Alexandru Darie
Assistant director: Cristian Şofron
Scenography: Maria Miu
Musical illustration and pianoforte: Gheorghe Hausmann
Special paintings: Amalia Perjovschi, Kudelász Iosif, Maria Miu, Kovács Ecaterina
Premiere date: June 12, 1986

In „Amadeus,” Peter Shaffer combines history and fiction to present aspects of the last years of Wolfgang Amadeus Mozart’s life. The play explores the rivalry between Mozart and Antonio Salieri, the court composer of the Austrian Emperor in the late 18th century. Envious of the young Mozart’s talent and unhappy with his own mediocrity, Salieri cannot understand how God could have bestowed such incredible grace on the eccentric Mozart, after he himself had made a „pact” with the Divine. He denies God and plots to destroy his rival by any means possible. In Salieri’s inner world, envy is combined with admiration, almost love, for Mozart’s music. Salieri understands the exceptional qualities of Mozart’s music better than anyone else, and this mixture of hatred and appreciation makes him one of the most complex characters in universal drama. Also, although it bears Mozart's name (Amadeus - the beloved of God), the story is told from the perspective of Salieri, old and preparing for death, illustrating intolerance, but meditating on genius.

Distribution:

Antonio Salieri:  Ion Tomorrow
Wolfgang Amadeus Mozart:  Cristian Sofron
Costanza Weber:  Cristina Schiopu
Venticelli 1:  Nicholas Thomas
Venticelli 2:  Laurian Jivan
Joseph II, Emperor of Austria:  Emil Sauciuc
Count Von Strack:  Marcel Popa
Count Orsini-Rosenberg:  Marcel Segărceanu
Baron van Swieten:  George Voinese
Caterina Cavalieri:  Ileana Iurciuc 
Teresa Salieri:  Mariana Vasile
Salieri's cook:  George Campan
Salieri's valet:  Alexander Luke
Viennese court, inhabitants of Vienna:  Sorina Laza, Felicia Stoica, Luminiţa Praja, Mariana Moca, Marilena Nelega, Lioara Bradu, Florin Tripa, Ion Muntean

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

Play in two parts by Paul Everac

Artistic director: Dan Alecsandrescu
Assistant director: Alexandru Darie
Scenography: Maria Haţeganu
Premiere date: March 30, 1986

The title of the song refers to the "Book of Job" in the Bible, which depicts exemplary events from the life of the wise man Job, whom God tests by allowing Satan to bring all kinds of obstacles, pains and catastrophes in his path. Job overcomes all the trials, helped by patience and immense faith in God.

Lacking effective dramatic action, the play "Ioviţă's Book" is made up of a series of dialogues that are unified in theme, but varied in terms of the typologies involved. Engineer Ioviţă is possessed by an ideal that is difficult to understand for those around him: the belief in socialism. His wife, friends and colleagues try to make him open his eyes to reality, to see that the facts around him are not at all as they were prophesied. Scene by scene, Ioviţă is confronted with very concrete truths of life, which seem to knock him down through immediate material or spiritual arguments. Although the distance between doctrine and reality is quite large, his convictions remain unshaken. "Engineer Ioviță believes that he must defeat inertia, break down conformism and routine. Discovering forms of progress, even in sectors of activity as humble or ordinary as they may seem, seems to him to be part of the elementary duty of life and the human condition. He is convinced that the difficulties or various setbacks that may arise cannot prevent everything. Above all, he needs to feel at the service of the people; this is not necessarily by climbing the barricades, or displaying inspiring airs, but by proceeding with simple, natural, humane and good-faith measures." (Prof. Ion Zamfirescu)

Distribution:

Iovita:  Eugen Tugulea  
Delifăzeanu:  Marcel Segărceanu
Bertha:  Simona Constantinescu
Ghermanescu:  Tiberiu Covaci
Dido:  Cristina Schiopu
Baltatu:  Eugen Harizomenov
Bush:  Ion Tomorrow
Ilihoi:  Petru Diaconu, Marcel Popa

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan
Sound: Valentin Bodonea

Comedy in two parts by Mircea Ştefănescu

Stage version and artistic direction: Zoe Anghel Stanca
Scenography: Vioara Bara
Musical illustration: Timuş Alexandrescu
Premiere date: March 13, 1986

A warm, intimate play, similar to the romances of the past, "Dream of Love" outlines the still patriarchal atmosphere of a marginal neighborhood of Bucharest in the 1920s, with the bragagi, simigii, gypsies, lampagii and flaşnetarii who populated it. In this simple, calm, and well-mannered world, Dudu Zamfirescu appears, the embodiment of the bohemian, a man without a head, cynical and rebellious. A large part of the play unfolds a dream to reveal the interiority of the hero. His entire spiritual capacity is concentrated in the issue of love, where he proves to be pure, disinterested, profound. Thus, despite his amoralism, he remains a sympathetic "sucker", animated by tender lyricism, gentle irony, having a luminous and idealistic nature.

Distribution:

Dudu Zamfirescu:  Ion Abrudan
Baraboy:  Eugen Harizomenov
The Bragagiul, Stratos, The Passerby:  Tiberiu Covaci
Elvira Ionescu:  Mariana Vasile
Manole Ionescu:  Eugen Tugulea
Gypsy and Lysa:  Anca Miere Chirilă
Titi Vasilescu:  Ion Ruscut

Technical director: Elena Varlam
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Emeric Kozák
Sound: Valentin Bodonea

Play in two parts by Mircea Bradu
Absolute premiere

Artistic direction: Sergiu Savin
Scenography: T.Th.Ciupe
Musical illustration: Erasmus Minchevici
Premiere date: December 17, 1985

"A man who many years ago left not only his family, but also his country, returns among his own, trying to tie the long-severed threads. In place of the children of the past, he is greeted by mature people who have made or are trying to make a point in life, invested not only with the right, but also with the ability to judge and choose. The wife, who waited for him with love, despite a fictitious marriage of convenience, made to shelter her children from the inconveniences caused by a defector father, does not understand how to abandon her beliefs or cut ties with what was the very reason for her existence. This is how it happens that after the euphoria of the reunion, after the decantation of what is authentic and what is just hypertrophied kindness in the relations between the returnee and those at home, it begins to be seen that over the chasm created by time, distance, but especially by different ways of seeing the world, they fail to to build lasting bridges, with only temporary ones that will give way at the first more serious demands. In the end, Alexandru (the "prodigal father") will return to his own, older with experience and weaker from a disappointment, that of not having managed to convince any of his loved ones to follow him, they remaining insensitive to the temptations offered and steadfast in the belief that happiness cannot be achieved with the roots cut off." (Dumitru Chirilă, "Familia", December 1985).

Distribution:

Alexander:  Ion Tomorrow
Mary:  Simona Constantinescu
Anda:  Cristina Schiopu
Ovid:  Ion Abrudan
Tudor:  Dan Badarau
Michael:  Daniel Vulcu
Matthew:  Eugen Harizomenov
Age:  Anca Miere Chirilă
Christina:  Juliana Chelu

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

Cabaret show

Artistic direction:  Katie  Gabor and  Jozsef  GABOR
Scenography: Maria Haţeganu
Musical direction: Ludovic Boross
Choreography: Gitta T. Săteanu
Premiere date: October 17, 1985

Texts by: Teodor Mazilu, Karinthy Frigyes, Edward Lear, Daniil Harms, Nóti Károly, Valentin Silvestru, George Mihalache, Viorel Cacoveanu, Elisabeta Pop, Dumitru Chirilă, Eugen Ţugulea, Cristina Şchiopu, Ion Abrudan, Ion Mâinea

The show "Another song, another joke... Entertainment '85" offered viewers a new encounter with humor, through artistic musical, choreographic and pantomime moments, as well as through a series of comic skits such as: "At the Philharmonic", "Treatment in the resort", "How stupid are wives!", "Blindness", "At the dry cleaners", "Mushrooms".

Interpreters:
Eugen Ţugulea, Marcel Segărceanu, Eugen Harizomenov, Marcel Popa, Cristina Şchiopu, Nicolae Barosan, Ion Abrudan, Mariana Vasile, Mariana Neagu, Tiberiu Covaci, Cristian Şofron, Laurian Jivan, Emil Sauciuc, Daniel Vulcu, Alla Tăutu, Anca Miere Chirilă, Simona Constantinescu, Nicolae Toma, Ileana Iurciuc, Iuliana Chelu, George Voinese, Eta Széll Patka

Orchestra members:
Augustin Vertan, Ioan Biguş, Cornel Ungur, Ari Nagy Sándor, Adalbert Bódis, Florian Chelu

Dancers:
Ildikó György, Anamaria Nagy, Gabriela Nagy, Camelia Mălan, Mariana Rusu, Mimi Németh, Vera Veres, Gyöngyi Kópé , Corina Codrea

Guest:
Florica Bradu

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

Poetry theater from verses by Federico Garcia Lorca
Premiere date: November 17, 1984

Performer: Carmen Trocan

Detective play by Robert Thomas
Translation: Aurel Baranga

Artistic direction: Sergiu Savin
Scenography: Adriana Grand
Musical illustration: Viorel Onaca
Premiere date: June 29, 1985

After his honeymoon in Venice, Daniel Corban stops in a village in the Alps, where he reports the disappearance of his young wife to the police. Following an argument, she leaves without returning for several days. The commissioner in charge of investigating the case is forced to admit that the investigation is at a standstill and that the young husband must be patient until the lost couple is found.

When the village priest announces to Daniel that he has found his wife, he is completely astonished: the woman who appears is a stranger. She firmly claims that her husband suffers from amnesia and, in order to strengthen her position, submits to an interrogation that she successfully passes. Faced with this unforeseen situation, the commissioner (and with him the viewer) no longer knows who to believe: the priest? the husband? the wife? Who is lying and who is telling the truth? Is Daniel Corban the victim of a fit of madness or a plot aimed at obtaining an inheritance through imposture?

Distribution:

Daniel Corban:  Dan Badarau
The Commissioner:  Ion Tomorrow
Maximinus:  Daniel Vulcu
Florence:  Cristina Schiopu
At Hake:  Eugen Tugulea
Miss Berton:  Alla Tautu

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lights: Balogh Iosif
Sound: Valentin Bodonea