Happy moments, music – a show created in collaboration with the "„"Bulandra"” Bucharest

Directed by: Petru Popescu and Kati Gábor
Scenography: Maria Haţeganu
Musical director: Ludovic Boross
Choreography: Gitta T. Săteanu
Premiere date: May 12, 1985

Interpreters:
Simona Constantinescu, Anca Miere Chirilă, Cristina Şchiopu, Ileana Iurciuc, Széll Patka Eta, Iuliana Chelu, Nicolae Toma, Eugen Ţugulea, Laurian Jivan, Ion Mâinea, Ion Abrudan, Nicolae Barosan, Eugen Harizomenov, Tiberiu Covaci, Daniel Vulcu, Emil Sauciuc

Dance:
Ana Maria Nagy, Mimi Németh, Camelia Mălan, Lucia Dobra, Mariana Rusu, Balázs Ildikó

Guests in the show:
Tamara Buciuceanu, Ion Caramitru, Ion Besoiu, Stefan Banica, Virgil Ogasanu, Florian Pittis

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

Comedy by Bogdan Petriceicu Hasdeu

Artistic director: Eugen Harizomenov
Scenography: Maria Haţeganu
Assistant director and choreography: Kati Gábor
Original music: Edmond Deda
Musical direction: Ludovic Boross
Premiere date: May 16, 1985

„"Orthonerosia" (1871-1872), revived in 1879 under the name "Three Kings from the East" and staged at the Oradea Theatre under the title "Father, Daughter and Three Kings" is a comedy of manners directed especially against language corruptors. In fact, the play is inspired by the confrontation between the two dominant linguistic trends at the time: the Latinist current and the excessive use of French words.

Marița, the daughter of the grocer Hagi-Pană, educated at a German boarding school, is courted by three suitors: the French copyist Jorj, the professor Numa-Consule, a fanatical Latinist, and Petrică, a shop boy, a "pure Romanian". In the end, after some sparkling comic moments, but with a touch of social criticism, the victory goes to the healthy and balanced native element. Petrică's choice is synonymous with emphasizing the specific values of the Romanian language, defending it from excesses, an attitude clearly evident in one of the couplets that conclude the play:

„"Romanian thought"
It has the Romanian port
But don't let her scold you.
Those who speak our language! (…)
Romania as long as it lives
The tongue will not leave it;
Let's speak Romanian:
Every nation with its own language."”

Distribution:

Hagi Pană:  Eugen Tugulea
Marry:  Ileana Iurciuc, Gábor Kati
George:  Laurian Jivan
Petrica:  Tiberiu Covaci
Consul Numa:  Ion Abrudan
Rose:  Anca Miere Chirilă
A maid:  Corina Codrea, Sorina Laza

Technical director: Elena Varlam
Prompter: Florence Szabo
Lights: Emeric Kozák
Sound: Valentin Bodonea

by Alexandr Ghelman
Translation: Tudor Steriade

Direction and scenography: Sergiu Savin
Musical illustration: István Gyöngyösi
Premiere date: April 6, 1985

„"In a Park... on a Bench" can be considered an original and modern love story, between two people whose destinies meet, apparently by chance, in a park, on a bench, at sunset. The play is constituted as a succession of confessions, a game of masks with fragments of truth and as much fiction as possible, through which the two try to establish a communion, explore paths of understanding, of deep connections. Their dialogue is also an ethical debate, marked by helplessness, violence and hopelessness.

SHE wants urgently and desperately to relieve her loneliness, but she tries to meet her partner and ideal of fulfillment in the park, the favorite place of party people looking for adventures. And HE is alone, does not know the warmth of a home, has no friends, nor moral support. He invents sad biographies, meant to impress women, themselves incapable of discerning the truth. HE seeks and cultivates loneliness, even in a two-hour date-adventure. That is why HER dreams of marital harmony, stability, fidelity and certainties do not awaken in HIM the expected effect. Moreover, neither of them mentions love, the only way in which the possible couple would access happiness. In the park, in the shadows of the night, everything seems possible, but at sunrise, in the light of reality?…

Distribution:

It:  Cristina Schiopu
He:  Ion Tomorrow

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

Comedy by Dumitru Solomon

Artistic director: Victor Ioan Frunză
Scenography: Adriana Grand
Premiere date: February 26, 1985

„"The Baccalaureate Exam" is a fake detective story, devoid of sensational crimes, but populated by "moral assassins" (Ileana Berlogea, "Contemporanul", June 21, 1985) and animated by an investigation in which, paradoxically, naivety and innocence prove to be the most effective factors for discovering the truth.

On the eve of the baccalaureate exam held in a provincial town, the chairman of the committee, Professor Cantemir, mysteriously disappears. Murder? Escape? Those charged with investigating this situation are Teo, a recent law graduate, a trainee prosecutor on the first case, and Fifi, a young representative of public order, specialized in punishing the perpetrators of breaking windows in schools. They discover the spectacle of intellectual precariousness, mediocrity and imposture played by those who assault Professor Cantemir in order to obtain, through onerous means – blackmail, bribery, influence peddling – a baccalaureate diploma: the Director, Castor and Polux, Pscpsc, Diana and the Athlete. Beyond the moral charge, the play "Examen de bacalaureat" combines the proven means of comedy - the comic crescendo, the qui-pro-quo, the travesty, the puns and those of modern farce: the transition from the realistic to the absurd register, the combination of lyricism and prosaic into a whole that makes a special note in the ensemble of Dumitru Solomon's creation.

Distribution:

Fifi:  Dan Badarau
Theo:  Ileana Iurciuc
Cantemir:  Marcel Popa
Wife:  Simona Constantinescu
The director:  Nicolae Barosan
Castor and Pollux:  Daniel Vulcu
Lucretia Borgia:  Mariana Neagu
Pscpsc:  Nicholas Thomas
Diana:  Mariana Vasile 
The athlete:  Ion Ruscut
Voices: special effects:  Florence Manea

Technical direction and prompter: Florence Szabo
Lights: Iosif Balogh
Sound and special sound effects: Valentin Bodonea

Play in two parts by Mircea Bradu
Absolute premiere

Direction and scenography: Sergiu Savin
Assistant director: Eugen Harizomenov
Musical illustration: Erasmus Minchevici
Premiere date: December 6, 1984

The historically inspired play "The Cursed Village" places its action around the events of August 23, 1944, the pretext being the terrorization of the village community by the Horthist authorities in order to discover the secret of some missing weapons. The Bihor mountain village is far from the great conflicts of the war, but the borderline situation that is created forces attitude and participation. The Horthist authorities commit various abuses and arbitrariness, and the dominant feeling is fear, threat, oppression. However, optimism and hope gradually make their way into the atmosphere of the play when we learn that there is a resistance movement supported by the entire community, including the mayor appointed by the Germans and who offers himself as the object of the investigation, in order to lead it, at least temporarily, onto a false trail. The actions of the resistance movement precede the radical change in the political situation on August 23, 1944, and put national dignity, courage, and determination in supporting a cause considered legitimate at the forefront.

Distribution:

Getting up:  Dan Badarau
Fireflies:  Daniel Vulcu
Thomas:  George Voinese
Anna:  Carmen Trocan (debut), Mariana Vasile
The mayor:  Ion Tomorrow
The hairdresser:  Eugen Harizomenov
Cornea:  Nicholas Thomas
Teacher:  Eugen Tugulea
The Lamenter:  Anca Miere Chirilă
The stranger:  Marcel Segărceanu
The inspector:  Ion Abrudan
Head of station:  Tiberiu Covaci
Villagers:  Alla Tautu, Simona Constantinescu, Mariana Neagu, Mariana Vasile, Marcel Popa, Laurian Jivan, Emil Sauciuc, Nicolae Barosan, Ion Ruscut, Corina Cornea, Gheorghe Milian

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

AWARDS:
-Actor Dan Bădărău was awarded a mention for his performance at the National Drama Festival, Timişoara, 1985

show-coupé
Premiere date: December 5, 1984

Water by Dumitru Solomon
Artistic director: Victor Ioan Frunză
Scenography: Adriana Grand

A theoretician calls two philosophers into a flooded cellar to debate a solution to get out of the closed space. Exiting through the door is possible, but completely excluded from the beginning. This is the situational pretext imagined by Dumitru Solomon to create a parable about „the process of the birth and proliferation of an aberrant psyche in the face of a radical danger that threatens a collectivity. Following in the footsteps of Dürrenmatt, Ionescu or Max Frisch, Solomon follows the phases of the process – from the generalized nonsense that forgets the meaning and purpose for the sake of speculation itself, to the stubborn refusal of the evidence. And which projects, from a certain moment, with violence, human beings into a primary zoological kingdom” (Valentin Silvestru, „Romania literară”, January 3, 1985). Through conceptual oppositions (culture/humanism), the play captures in poetic accents man's struggle to preserve his humanity unaltered, despite the adverse conditions of existence.

Distribution:
X:  Daniel Vulcu
Y:  Nicolae Barosan
Z:  Dan Badarau
The child:  Robi Bordas

Technical direction and prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Valentin Bodonea

Show distinguished with:
-Grand Prize
-Directing Award at the Short Theatre Week, 6th edition (Oradea, 1984)

The Gates (Bright Week) by Mihai Saulescu
Stage adaptation and artistic direction: Alexandru Darie
Assistant director: Cristian Şofron
Scenography: Maria Miu

„The Gates” is an adaptation of the symbolist play „The Bright Week” by Mihai Săulescu, whose pretext is the popular belief that only those who die during this spiritual interval can be forgiven all their sins. In this case, the dying man is a robber, surrounded by the Mother, the Guard and the Priest. As Marian Popescu noted in the December 21, 1984 issue of the magazine „Flacăra”, „as in Maeterlinck’s theatre (”The Intruder”, for example), death is a corrosive presence.” The agony is unbearably prolonged, in a terrifying atmosphere, full of fear and obscure allusions. The tragic ceremonial ends with a so-called useful crime, without the perpetrators being absolved of their own darkness. Absolving the dying man of sins does not mean that everyone is innocent…

Distribution:
Parent:  Mariana Vasile
Son:  Emil Sauciuc
The guard:  Nicholas Thomas
The priest:  Cristian Sofron

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

AWARDS:
-Mariana Vasile was awarded the Fáklya Newspaper Award for her performance at the 6th edition of the Short Theatre Week (Oradea, 1984)

Comedy in two parts by Samuil Alioşin
Translation: Denisa Fejes

Artistic director: Victor Ioan Frunză
Scenography: Vilhelm Bölöni
Music: Elena Moroşan
Sings: Florian Chelu
Premiere date: September 9, 1984

A play with four characters of remarkable inner richness, "The Eighteenth Camel" is built around the idea of the absolute in love. As in the rest of Samuil Alioşin's dramaturgy, the temporality of life forces the characters to live fully, respecting absolute values. In this play, love becomes the supreme principle in the name of which everything can be lost or gained. Compromise is excluded: there is neither "almost" love nor "almost family". However, love is not declaimed bombastically, but emanates from restrained gestures, from fragmentary lines.

Distribution:

Piotr Pronin:  Octavian Cotescu (guest on the show), Ion Tomorrow
Agnes Pavlovna:  Alla Tautu
Vary:  Mariana Neagu
Vladimir:  Daniel Vulcu

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

Poetry theater from Romanian lyric poetry: Mihai Eminescu, Lucian Blaga, George Bacovia, Marin Sorescu, Şt.Aug.Doinaş, Nichita Stănescu

Artistic direction and scenography: Sergiu Savin
Premiere date: February 18, 1984

Interpret:
Cristina Schiopu
Ion Abrudan

At the piano:
Dana Borsan – musical creations by Liszt, Tchaikovsky and Beethoven

Poetry theater from verses by Ana Blandiana
Screenplay: Elisabeta Pop and Sergiu Savin

Artistic direction: Sergiu Savin
Premiere date: November 24, 1983

Under the title "Poetry Theatre", the Oradea State Theatre presented in the 1983-1984 season the show "October, November, December", dedicated to Ana Blandiana, with her presence and participation. Bearing the title of one of the author's volumes, the show was performed by actors from the host theatre and by special guests Leopoldina Bălănuţă and Larisa Stase-Mureşan.

Interpret:
Cristina Schiopu

Guests in the show:
Leopoldina Bălănuţă and Ana Blandiana

Entertainment show based on texts by Karinthy Frigyes, George Mihalache, Viorel Cacoveanu

Artistic direction: Kati Gábor and József Gábor
Choreography: Gitta T. Săteanu
Scenography: Maria Haţeganu
Musical direction: Ludovic Boross
Premiere date: June 26, 1984

The show "Diverstisment '84", presented before the closing of the 1983-1984 season, included pantomime numbers, musical moments (Celebrated Tango Songs, Gypsy Songs, etc.), various choreographies and the presentation of humorous skits and sketches, such as: "Friends" by Viorel Cacoveanu, "Friend, friend, but the references....", "Consultation at sea", "Only be a parent" by George Mihalache.

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

Sing:
Eta Széll Patka, Iuliana and Florian Chelu

Dance:
Ana Maria Nagy, Mimi Németh, Camelia Mălan, Lucia Dobra, Mariana Rusu, Agnes Körösi

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

Play in three acts by Dragomir Asenov
Translation: Elisabeta Pop
National premiere

Artistic director: Eugen Ţugulea
Scenography: Camelia Micu
Premiere date: May 10, 1984

The play "Face to Face" places its action in a large Bulgarian factory and captures various professional and socio-human situations of its leaders, from the perspective of communist morality. "A (former) director of an important enterprise, raised under his watch and leadership, spends his last moments in the director's office he has occupied for many years and which had become his second home. Dismissed from office, deprived of his managerial prerogatives, engineer Spasov has the opportunity to get to know his collaborators better, or more precisely, now he sees them in their true light, because they no longer see themselves as obliged to be flatterers, hypocrites or submissive. Engineer Nuneva fought him for a long time, their conflict was open and notorious, so her hostility is not a surprise; secretary Marinceva will make a few common sense remarks to him, not to offend him, but to make him better understand the situation and the causes that generated it; on the other hand, deputy Lekov, the one who has adored him for years, tickling his pride and maintaining his belief that everything he undertakes is within the realm of perfection, is the first to raise stone, passing without hesitation and without remorse, with "weapons and baggage", into the service of the new director, Petrunov. The latter, in turn - young, energetic, professionally gifted - will try from the first moment to consolidate the new position, by completely disqualifying his predecessor, setting up an investigation from which it will result that Spasov has not only professional-organizational faults but also of a criminal nature, that is, he would have brought premeditated and interested damages to the enterprise. Nuneva refuses with dignity to join the cabal, but instead Lekov enters without hesitation, committing to "solve the file"." (Dumitru Chirilă, "Familia", May 1984).

Gradually, the conflict moves from the professional sphere to the family one, with more and more clashes of ideas and attitudes. In the end, Petrunov understands that he has a duty to fight with honest weapons, in a loyal, manly, unequivocal confrontation. Hence the option for the title (the original title being "Coating in Gold"): as the play's director, Eugen Țugulea, states in the program booklet, the performance becomes "a plea for the right to stand face to face and to be able to look openly, one into the other's eyes.".

Distribution:

Spasov:  Eugen Tugulea
Marinceva:  Mariana Vasile
No one:  Simona Constantinescu
Lekov:  Ion Abrudan
Petrunov:  Tiberiu Covaci
Cornflower:  Ileana Iurciuc
Hinko:  Emil Sauciuc

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in three acts by Molière
Translation: Tudor Arghezi

Artistic director: Ion Mainea
Scenography: Maria Haţeganu
Musical illustration: Erasmus Minchevici
Premiere date: March 2, 1984

Written on the coordinates of the grotesque, the comedy "Georges Dandin (The Deceived Husband)" is related to Molière's prose farce "La Jalousie du Barbouillé" and focuses on the classic story of the deceived husband, found in numerous works of universal literature (for example in Boccaccio's "Decameron"). The play also became famous due to the repeated statement "You wanted it, Georges Dandin", transformed into a true proverb by breaking the context.

Georges Dandin, a rich peasant, gives his fortune to the de Sotenville family, ruined nobles, in exchange for which he acquires a noble title (Georges de la Dandinière), a rank and their daughter, Angelica, as his wife. She was therefore superior to him in social rank, but not in qualities and, moreover, she never wanted this loveless marriage. Without scruples and hiding places, Angelica cheats on Georges with the aristocrat Clitandre. The deceived husband repeatedly calls his in-laws to catch her in the act; Angelica, however, always turns the situation in her favor, and Mr. and Mrs. de Sotenville do not miss any opportunity to remind Georges that the difference in condition has not been abolished. The ending does not allow us to glimpse any change, any improvement in this state of affairs presented comically, but which borders on the grotesque.

Distribution:

George Dandin:  Ion Abrudan, Ion Tomorrow 
Angelica:  Cristina Schiopu
Mr. de Sautenville:  Marcel Popa
Madame de Sautenville:  Simona Constantinescu
Clitendre:  Ion Ruscut
Claudine:  Mariana Neagu
Lubin:  Daniel Vulcu
Colin:  George Voinese

Technical director: Elena Varlam
Prompter: Florence Szabo
Lights: Emeric Kozák
Sound: Dorel Olea

Comedy by Tudor Popescu

Artistic direction: Alexandru Darie (debut)
Scenography: Maria Miu (debut)
Music: Ludovic Boross
Instrumentalists: Ludovic Boross, Cornel Ungur, Eta Szél Patka, Augustin Vertan, Ioan Biguş
Premiere date: February 21, 1984

The play "Jolly Joker" dismantles the mechanism of hypocrisy, cowardice and compromises that falsify existence and degrade the humanity of the individual. At the center of the argument is the "Aroma Carpaților" factory, which no longer produces anything profitable, staying afloat through the maneuvers of Mincu, the main character of the play. He understands that the repeated brigades of pseudo-specialists who come to control can easily be distracted from their true goals and even determined to obstruct each other. In order to get their way, Mincu plays the parade of submission, maintains their impression of usefulness and seeks to know their weaknesses. He is the only one who resists in the daily thicket of absurdities, adopting histrionic positions, appropriate for a Jolly Joker. The caricature of the system and its representatives acquires grotesque accents, the buffoonery even has a dreamlike outline, demonstrating the deep interpenetration between comedy and tragedy.

 On another level of interpretation, the play transforms into a cruel satire on socialist society, marked by deprivations, but also by distorted and absurd relationships between people. The factory where everything goes wrong, where people lie, steal and hide reality when inspections arrive, becomes a great metaphor for Romania caught in a gear of moral and material misery that contradicts all normality and common sense.

Distribution:

Mincu:  Cristian Sofron
Tudor:  Nicholas Thomas
Zizi and Onita:  Ileana Iurciuc
Dora:  Mariana Vasile
Move, Stan and Vergu:  Tiberiu Covaci
Benea, Stere and Manea:  Eugen Harizomenov
Nica, Deacon, Dumitru, the Fireman:  Marcel Segărceanu
Olga, Victoria and Corn:  Alla Tautu
David, Dunea and Vereş:  Laurian Jivan
Gavrila:  Eugen Tugulea

Technical director: Mărioara Goina
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in two parts by Tauno Yliruusi
Translation and adaptation: Mircea Rădulescu
National premiere

Artistic director: Eugen Ţugulea
Scenography: Vioara Bara
Premiere date: November 17, 1983

„"The Miraculous Career", a comedy with philosophical valences, "brings into discussion the issue of the relativity of freedom. The word "freedom" has been misused many times, attributing another meaning to it. Freedom is something purely human and personal.

It may be that, in prison or in a monastery, a person feels freer and safer than outside the walls. There are many who cannot stand the so-called freedom in which they are forced to decide for themselves, to make decisions, being forced to opt, to choose from numerous possibilities and alternatives. Like Valto, for example, who acquires his freedom, true, for him, freedom, in prison, where the possibilities of choice are reduced to a minimum.” (Tauno Yliruusi).

Distribution:

Valto:  Daniel Vulcu (debut)
Anneli:  Monica Ristea Horga, Tania Filip, Ileana Iurciuc
Santeria:   Ion Martin, Eugen Tugulea
Lulau:  Mariana Neagu
The director:  Marcel Segărceanu
Kristi:  Alla Tautu
The Minister:  Nicholas Thomas
Inks:  Mariana Vasile
Harry:  Nicolae Barosan
The Accountant and the Jeweler:  Laurian Jivan
The Priest and the Man with the Suitcase:  Eugen Tugulea, Ion Mainea
Policeman I:  George Voinese
Policeman II and Auditor I:  Emil Sauciuc, Anca Miere Chirilă
Policeman III and Auditor II:  Tiberiu Covaci

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan
Musical illustration and sound design: Dorel Olea

Play in two parts by Ileana Vulpescu
Stage version: Ileana Vulpescu and George Bănică.
The play ran for three seasons.

Artistic director: Zoe Anghel Stanca
Scenography: Camelia Micu
Premiere date: November 3, 1983

"I know what I want from this world – fairness, agreement with my own conscience, a simple and upright life" is the phrase that summarizes the credo about existence of Dr. Sânziana Hangan, the heroine of the play based on "The Art of Conversation" by Ileana Vulpescu, "a romance novel set in a period setting", as Leon Baconsky defines it (Analytical dictionary of Romanian literary works, vol. I, House of the Science Book, Cluj-Napoca, 2007).

A 40-year-old doctor, endowed with calm beauty, a brilliant and analytical intelligence, Sânziana Hangan fails in her marriage to the writer Alexandru Bujor, incompatible with her true ideals and founded on a thoughtless youthful enthusiasm. Some time after the divorce, her daughter Maria is joined by a younger sister, Ana, the voluntary fruit of a summer of love with the future doctor Pavel Vlas. Ignoring her paternity for years, but sensing the reality, he arrives at Sânziana to immediately recognize his daughter. This visit takes place on a Bucharest afternoon and is the setting for the doctor's series of confessions, through which the figures who have marked Sânziana's existence come to life: Mother, Professor Daniel Şerban (Nenea Dal), Doctor Murgu, Doctor Nini Naiculescu, Doctor Gheorghe Vladimirescu, Engineer Mircea Nicoară, French microbiologist Jacques Héraut. The afternoon spent in "conversations" takes on the character of a moment of assessment, both of the personal erotic unfulfillments and of the socio-political and professional experiences of the main character, a moral instance with common sense and unwavering verticality. The ending allows us to glimpse a new beginning for Sânziana Hangan, alongside the gentle, honest and realistic colleague and family friend Tudor Şerban, who is also in a spiritual impasse after a failed marriage: "Everything, then, is as it should be."„

Distribution:

Sanziana Hangan:   Cristina Schiopu
Parent:  Simona Constantinescu
Alexander Bujor:   Ion Abrudan
Pavel Vlas:  Ion Ruscut
Mary:  Ileana Iurciuc
Tudor Serban:  Eugen Harizomenov
Doctor Murgu:  Marcel Popa

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan
Sound: Dorel Olea

Musical enchantment by Valentin Avrigeanu
Absolute premiere

Artistic director: Zoe Anghel Stanca
Scenography: Maria Haţeganu
Music: Erasmus Minchevici
Musical interpretation and sound effects: Erasmus Minchevici and Florian Chelu
Premiere date: September 22, 1983

„"Descending from a Story" is the fifth fairy tale creation by artist Valentin Avrigeanu, after "Honey Thieves", "Tale from the Golden Forest", "Forget-me-not Flower" and "In the Night When the Year Changes".

In the versified show – a children's fairy tale, Kindness, Courage of Wisdom and Justice confront Greed, Enmity and Stupidity that the evil ones (Ghionoaia, Cyclops, Voivode Minte-Seacă) try to spread in the world in order to rule it. In the world imagined by them, only fear, cowardice, hopelessness, hatred would reign. Fortunately, the positive characters fight and succeed in discovering and restoring the Truth to its rightful place, so that the moral value of the show – a plea for honor, justice, respect – is undeniable.

Distribution:

The Voivode:  Laurian Jivan
Lady:  Alla Tautu
Luminita:  Mariana Vasile
The advisor:  George Voinese 
Voivode Minte-seaca:  John Martin
The Hermit:  Marcel Segărceanu
The Ghionoaia:  Anca Miere Chirilă
The Cyclops and Ion:  Emil Sauciuc
Ionian:  Tiberiu Covaci

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan

Poetry theater from verses by Romulus Vulpescu
Screenplay: Elisabeta Pop

Artistic director: Cristina Şchiopu
Premiere date: April 5, 1983

„The "Poetry Theater", which included recitals from the creation of contemporary poets, had Romulus Vulpescu as a special guest in the 1982-1983 season, in a show entitled "Arts and Profession", after the title of the volume published in 1979. The poems were recited (or sung) by Cristina Șchiopu, Eugen Harizomenov, Tudor Gheorghe and the author himself, originally from Oradea, and the personality and work of the creator were evoked, as appropriate, by Laurențiu Ulici, Ileana Vulpescu and Mircea Bradu.

Interpreters:  Cristina Şchiopu, Eugen Harizomenov
Guest:  Tudor George

by Adrian Dohotaru

Artistic direction and soundtrack: Zoe Anghel Sanca
Scenography: Maria Haţeganu
Premiere date: June 14, 1983

„"The Lovers at 9 PM" is the play of a life experience that marks a person until old age: the first love, experienced when leaving adolescence and entering young adulthood. The author focuses on a pair of pure, beautiful, good-natured and "home early" lovers: Radu and Ana, students on the verge of their baccalaureate exams. The love story is invested with absolute credit: there is no shadow of doubt or unhappiness that could affect the harmony within. "As long as love remains a solitude between two, it is less exposed to corrosion, contacts with the environment can, however, generate errors, some serious, that "turn life inside out", requiring an immense dose of generosity and (despite the young age) mature thoughtfulness so that the broken thread can be retied. Under the overwhelming pressure from the outside (made up of vulgarity, wickedness related to delinquency, opacity in the face of pure feelings), the heroes of the play reach an intensely dramatic realm, but the author (…) loves them so much that he does not let them suffer, he takes them by the hand and puts them on the right path.” (Dumitru Chirilă, „Familia”, July 1983).

Distribution:

Anna:  Tania Filip
Radu:  Emil Sauciuc
Parent:  Simona Constantinescu
Father:  Marcel Popa
Ali, the Student and the Black Man:  Tiberiu Covaci
Colleague:  Mirela Corbeanu
Jimmy:  George Voinese
Gigi:  John Martin

Technical director: Mărioara Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan
Musical illustration and sound design: Dorel Olea