Comedy in two parts by Marc Gilbert Sauvajon
Translation: Angela Plati

Artistic direction:  Otto Szombati Gille
Assistant director: Tiberiu Covaci
Scenography: Alexandru Fazecaş
Premiere date: May 18, 1983
The show ran for three seasons, and was titled "Divorce English Style".

A lively and inventive boulevard comedy, "A Farewell Weekend" speaks with verve about love in marriage and... outside of it. After fifteen years of marriage, Hugh Preston, a successful comedian at the BBC, is faced with a seemingly hopeless situation: his wife, Liz, has fallen in love with John Brownlow and, what's more, is on the verge of running away with him on a romantic trip to Italy. Far from accepting the news and letting himself be crushed, Hugh imagines a stratagem through which all the plans of the newlyweds will be thwarted. With a suspicious gallantry, Hugh accepts the separation, and even offers to assume moral responsibility for the divorce, staging a flagrant crime with his secretary, Patricia Forsyth (Patty-Pat). To carry out the plan, he invites both Brownlow and Patricia to their home, an opportunity to fuel Liz's jealousy and, at the same time, discredits his competitor step by step, until his wife, who is obsessed with adventures, can no longer see him as anything but "a cuckoo". Hugh reveals all the details of the meeting, each knows everything about the other, or, as Liz says, "a love needs a little poetry to live... a little mystery... a little dream...". In the end, Liz understands that her new conquest cannot be compared to the husband she was ready to abandon, confusing the inherent difficulties of a marriage with a real, but non-existent crisis of affection. The ending brings a final comic reversal of situations: the secretary sets off for London with Brownlow, while the Prestons prepare to leave for Italy, on their seventh honeymoon.

Distribution:

Hugh Preston:  Ion Abrudan
Liz Preston:  Cristina Schiopu
Mrs. Gray:  Alla Tautu
John Brownlow:  Tiberiu Covaci
Patricia Forsyth:  Mariana Vasile

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

Literary-musical cabaret from the writings of Tudor Muşatescu
Screenplay and artistic direction: Ion Cojar
Scenography: Marie-Jeanne Lecca
Musical direction: Ludovic Boross
Premiere date: March 28, 1983

Conceived as a celebration of the 80th anniversary of Tudor Muşatescu's birth, the show "The Waves of Life" takes its title from a collection of humorous sketches written by the versatile Romanian writer. In the setting of a summer garden, small skits with two or three characters are presented to the audience, including: "An Old Friend", "Declaration", "The Lord with Camellias", "Proceedings", "Obligations", "Muşatisme", "Divers". Humor, irony and music intertwine in the play of the actors from Oradea and those from Bucharest, from the "Ion Luca Caragiale" National Theatre.

Interpret:

An old friend
Nicolae Toma, Eugen Tugulea

declaration
Michael Fotino

The Lord with the Camels
Simona Constantinescu, Ion Mainea, Eugen Tugulea, Florence Manea

pan
Mariana Neagu, Ion Abrudan, George Voinese

Report
Ion Marinescu

Reminiscences of the past
Corina Chiriac, Mihai Fotino

His Excellency Mr. Sandu Popescu-Nucșoara
Nicolae Barosan

Kiss the big hand, big ass.
Octavian Cotescu

Obligations
Cristina Şchiopu, Eugen Harizomenov

Moustaches
Radu Beligan, People's Artist (National Theater "ILCaragiale" Bucharest)

The divers
Mihai Fotino, Ion Marinescu, Octavian Cotescu, Radu Beligan, People's Artist (National Theater "ILCaragiale" Bucharest)

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

Comedy in three acts by Tudor Muşatescu

Artistic director: Ion Cojar
Assistant director: Eugen Harizomenov
Scenography: Camelia Micu
Musical illustration: Romeo Chelaru
Premiere date: March 1, 1983

The action of the play "Titanic Waltz" takes place in a provincial town where Spirache, a clerk at the prefecture, leads a modest life with his family, consisting of his wife (Dacia), two sons (Traian and Decebal), two daughters (Miza and Gena, from a previous marriage) and his mother-in-law (Chiriachiţa). The family's only hope of enrichment is represented by the death of Uncle Tache, Spirache's brother. As Laura Pavel observes, the metaphorical title refers to the reversal of the situation that triggers the "waltz" of the play's family, love and political tribulations: the shipwreck of the ship Tracia (a parodic local version of the Titanic), in which Uncle Tache dies. As a result of the inheritance, the family rises on the social ladder, becomes wealthy, adopts aristocratic habits, and the women aspire to a deputy position for Spirache, being even ready to secretly buy this position.

A belatedly discovered testamentary clause states that Tache's fortune was not directed correctly, but that it should have been granted to the first heir, that is, Miza's newborn child, taken over by Gena, in order to save her sister's honor. The end of the play presents, in a mirror, the love stories of the two girls: Miza will marry Lieutenant Stamate, and Gena with Petru Dinu. It is also revealed that Spirache had known from the first moment about his daughters' loves and that he had arranged things in the happiest way possible (including inserting a false clause in the will). Thus, the character who is apparently the most erased and oppressed by the family turns out to be the most influential, and the play ends in the most perfect happy ending, with a photograph of the now happy family.

Distribution:

Spirache Necsulescu:  Nicholas Thomas 
Dacia:  Alla Tautu
Chiriachiţa:  Anca Miere Chirilă
Sarmisegetusa:  Mariana Neagu
Gene:  Cristina Schiopu
Trajan:  Nicolae Barosan
Decebalus:  Emil Sauciuc
Peter Dinu:  Ion Abrudan
Gigi Stamatescu:  Tiberiu Covaci
Radulescu Nercea:  Eugen Harizomenov
Procopius:  Marcel Segărceanu
Neighbor:  Valentin Avrigeanu
The photographer:  Laurian Jivan
Nurse:  Mariana Vasile
The maid:  Florence Manea

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan
Sound: Dorel Olea

by Harold Pinter
Translation: Horia Hulban
National premiere

Direction and scenography: Sergiu Savin
Premiere date: February 15, 1983

„"The Anniversary", a play that has become a classic in universal dramaturgy, was classified by Martin Eslin in the category of theater of the absurd. The action of the play is set in a claustrophobic, dirty, suffocating boarding house, located in an English seaside town, not far from London. The boarding house is owned by a couple in their sixties, Meg and Petey, whose only client is Stanley. An apathetic, dull figure, Stanley assumes the identity of a former pianist and retreats to the boarding house as if to a refuge. Meg cares for Stanley with a maternal affection that borders on incest.

The threat felt from the beginning of the play materializes with the appearance of the two strangers, Goldberg and McCann, who have arrived, ostensibly, for Stanley's birthday. Although he denies that it is his birthday, at Meg's insistence a party is organized that gradually turns into a nightmare. Stanley is harassed with accusations and countless aggressive questions about an organization he has allegedly betrayed, as well as philosophical questions ("Why did the chicken cross the street?") or rhetorically absurd ones. After a hallucinatory game of blind and right, the two forcibly take Stanley to a certain Monty, a metaphor, perhaps, of man's slide towards death.

The oppressive atmosphere of the play is built through several elements such as: the possibility of a hidden danger in apparent normality, the foreboding of an imminent disaster, the use of irony where communication becomes useless, almost surreal confusions, the lack of any rational explanation for the characters' actions, all giving rise to the most typical theatrical absurdity.

Distribution:

Petey:  Eugen Tugulea
Meg:  Anca Miere Chirilă
Stanley:  Ion Tomorrow
Lulu:  Tania Filip
Goldberg:  Eugen Harizomenov
McCann:  George Voinese

Spectacol muzical de Silvia Kerim, după Pamela Travers

Artistic director: Farkas Ştefan
Assistant director: Eugen Harizomenov
Scenography: Camelia Micu
Muzica:  Marius Ţeicu
Coregrafia:  Roxana Buda
Data premierei:  18 noiembrie 1982

Spectacolul muzical orădean a cuprins o serie de episoade ale bine-cunoscutei povești ce o are în centru pe excentrica Mary Poppins. Cea care va deveni doica familiei Banks sosește în casa acestora purtată de Vântul de Miazăzi, pe care îl preferă Expresului Londra Glasgow. Cei doi copii, Jane și Michael își dau seama curând că noua lor doică, deși severă, are atribute magice care o fac extraordinară. Împreună, ei trec prin diferite aventuri, de la servirea ceaiului pe tavan, discuții cu păsări și animale, la o călătorie în jurul lumii cu busola. Prezența lui Mary Poppins schimbă viața familiei de pe Aleea Cireșilor. Ea aduce ordine în casă, fericire părinților și multă aventură și experiență copiilor. Când consideră că aceștia au învățat suficiente lecții, că misiunea ei a fost îndeplinită cu succes, Mary Poppins pleacă, nu înainte de a promite că va reveni oricând va fi nevoie de ea.

Distribution:

Mary Poppins:  Tania Filip
Jane:  Mariana Vasile
Michael:  Emil Sauciuc 
Domnul Banks:  Nicholas Thomas
Doamna Banks şi Bătrâna:  Simona Constantinescu 
Bert şi Câinele Wiloughby:  George Voinese
Chelnerul, Câinele Andrew, Portarul:  Tiberiu Covaci
Corp balet (gheişe, canguri, pinguini, indieni):  Roxana Buda, Marta Nagy, Veronica Vereş, Edit Fürtös

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

Drama in five acts by Friedrich Schiller
Translation: Mihai Izbeşescu and Mariana Crainic

Stage version, musical illustration and artistic direction: Zoe Anghel Stanca
Choreography: Otto Szombati Gille
Scenography: Maria Haţeganu
Premiere date: October 14, 1982

The play "Intrigue and Love" is a landmark in Western dramaturgy due to the fact that the author abandons the traditional structure (of neoclassical tragedy) in favor of a social and political portrait of his era. Schiller's play, originally titled "Luise Millerin", is the starting point of the 3-act opera "Luisa Miller" by Giuseppe Verdi.

Born from direct observation of reality, of current issues, "Intrigue and Love" has a pronounced realistic character and is charged with revolutionary energy, even acquiring a political tone. The abuses and decay throughout Germany of the era find their embodiment in the principality of Karl Eugen. In this space, a love story flourishes, not permitted by the unwritten laws of belonging to social classes, between Luise (the daughter of a modest bourgeois) and Major Ferdinand (the son of the President of the Court). Ferdinand, although determined to overcome the obstacles of class difference to fulfill his love, which he considers the natural right of man, still feels guilty for having violated social barriers. Luise, dignified and determined, is ready to give up "a connection that would disturb social relations and shake the usual laws of an eternal order." Their love is opposed by the intrigue of Wurm, Von Walter and Von Kalb, members of the court nobility. The impossible love between Luise and Ferdinand can only be fulfilled in death.

Distribution:

From Walter:  Ion Tomorrow
Ferdinand:  Nicolae Barosan
From Kalb:  Marcel Popa
Lady Milford:  Mariana Neagu
Worm:  Laurian Jivan
Miller:  Marcel Segărceanu
His wife:  Anca Miere Chirilă
Louise:  Cristina Schiopu
Sophie:  Florence Manea
Hans:  John Martin

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan
Sound: Dorel Olea

Play in three parts, eight scenes and an epilogue by G.M.Zamfirescu
Absolute premiere

Artistic director: Eugen Mercus
Decor: Virgil Luscov
Costumes: Virgil Luscov and Maria Hateganu
Musical illustration: engineer Lucian Ionescu (Romanian Radio and Television Bucharest)
Premiere date: September 10, 1982

The premiere of the show "The Change of Face" took place in Oradea as part of the cultural event "Scenic Monograph: GM Zamfirescu", intended to shed new light on an active presence in interwar theatrical life in Romania. Along with the Oradea performance, the event included the show "The Idol and Ion Anapaoda" (National Theater "IL Caragiale") and a colloquium attended by renowned critics, historians and theater people.

Grief-stricken by the suicide of his father, recognized for his exemplary honesty, Pamfil rises up against corrupt politicians, thieves, swindlers, capable of anything to defend their gains and positions. To expose them, Pamfil insinuates himself into their ranks, imitating them to perfection in style and means. The moment he has enough information about everyone, Pamfil can annihilate them, even with their own methods – blackmail, deception. But can one man – even if he is strong and honest like Pamfil – overthrow an entire order?

Pamfil's approach stems from both the desire to avenge his dead father and political conviction, the belief that a revolution is possible and necessary. He tries to break the state of passivity and pessimism by taking action, fighting for a better ideal, for a "change in face".

Distribution:

Manda and the Lady with the Pussy:  Anca Miere Chirilă
Nastase:  Ioan Oros, George Voinese
Week:  Florence Manea
Philofteia:  Mariana Vasile
Tinca and Inconsolable:  Alla Tautu
Pamphilus and Valentine:  Nicolae Barosan
Bran:  Laurian Jivan
Baby and Mazilu:  Marcel Segărceanu
Nedelcu and Rosculeț:  Valentin Avrigeanu
Mateias:  Ion Abrudan
Fudulu:  Eugen Harizomenov
Stan:  John Moldovan
Stanica and Catunaru:  Tiberiu Covaci
Doodle:  Eugen Tugulea
Peacock Acarus:  John Martin
Virgin:  Tania Filip, Mariana Vasile
Profirius:  Marcel Popa
Aristic:  Nicholas Thomas
Visants:  Ion Tomorrow
Reporter:  Emil Sauciuc
Priboianu:  Peter the Deacon

Technical director: Elena Varlam
Prompter: Dimitrios Stefanidis
Lighting: Vasile Blejan
Sound: Dorel Olea

AWARDS:
-The show was awarded at the Botoşani Historical Theatre Festival, 1983, with the award for repertory choice. Interpretation award: Eugen Ţugulea for the role of Dudulă.
-The show was presented together with the show The Idol and Ion Anapoda of the National Theatre in Bucharest as part of the colloquial event The Stage Monograph GMZamfirescu

Poetry theater
Alexandru Andriţoiu show
Selection of lyrics: Elisabeta Pop

Artistic direction and scenography: Cristina Şchiopu
Music: Florian Chelu and Erasmus Minchevi
Premiere date: June 14, 1982

Initiated by Cristina Şchiopu and placed under the generic title "Poetry Theater", the recital "A Few Departures Through Time" made an incursion through the work of the Bihorian poet Alexandru Andriţoiu, grouping the most beautiful and representative poems from the volumes published up to that date. The recital highlighted the thematic variety, vigor, fluency and musicality of the verses, aiming to guide the audience towards a truer and deeper knowledge of the lyrical path traveled by Alexandru Andriţoiu.

Interpreters:

Cristina Schiopu
Alla Tautu
Anca Miere Chirilă
Ion Abrudan
Eugen Tugulea
Eugen Harizomenov

Leonid Andreev coupé show

Artistic direction: Sergiu Savin
Scenography: Epaminonda Tiotiu
Premiere date: June 12, 1982

In the two short plays that make up the coupé show "The Horse in the Senate. The Beautiful Sabines", the Russian writer Leonid Andreev took up themes or moments from ancient history, dramatically reworking them and giving them new connotations. The historical episode of the abduction of the Sabines to populate the newly founded city of Rome becomes a good pretext for ironic references and satirical appreciations of human nature in general. The vaudeville "The Horse in the Senate" starts from the story told by Suetonius in "The Lives of the 12 Caesars", according to which the eccentric Roman emperor Caligula treated his horse Incitatus with at least strange honors: "He had made him a marble stable, an ivory manger, purple harness, a necklace of precious stones, servants and luxurious furniture." The culmination of this behavior – conferring the rank of Senator on the animal, transforms Andreev's play into a political pamphlet, exposing the flattering and servile attitude towards the powerful.

THE HORSE IN THE SENATE
Vaudeville in one act from the history of Rome
Translation: Mircea Ciobanu

Distribution:
First Senator:  John Martin
Second Senator:  Marcel Popa
Third senator:  Nicolae Barosan
Marcus:  Eugen Harizomenov
Half a senator:  Laurian Jivan
Agrippa:  Marcel Segărceanu
Titus:  Nicholas Thomas
Marcellus:  Ion Tomorrow
Menenius:  Peter the Deacon
First consul:   Eugen Tugulea
Second consul:  Ion Abrudan
Caligula:  Emil Sauciuc
Priscus:  Tiberiu Covaci

THE BEAUTIFUL SABINES
Translation: Tatiana Nicolescu

Adapted from the play "The Abduction of the Sabines", written by Leonid Andreev in 1911, the show proposed by the "Iosif Vulcan" Troupe brings to the fore a series of aspects of immediate reality, mentioned with surprising sincerity and openness: the problems of Romanians in Italy, the global economic crisis, omnipresent corruption, the obsession with physical appearance, fashion shows, the media's pursuit of sensationalism.

The historical episode of the abduction of the Sabine women by the Romans in order to populate the newly founded city of Rome functions only as a pretext to create an engaging, lively comedy, full of gags and inspired jokes, in which the confrontation between women and men or the claims of respectability acquire an ironic allure. Thus, the women are lured with wallets, jewelry and perfumes and look for a handsome, intelligent, rich, virile, obedient, refined and loving man; unable to find all these in a single man, they choose several, one for each quality. The men are quite inefficient, ridiculous and, paradoxically, subordinate to the women they have abducted.

The play is structured in two scenes: the first takes place in the Roman camp, which is trying to reach an agreement with the Sabine women; the second takes place in the Sabine camp, a year and a half later, and depicts the honest preparations of the husbands for the great confrontation through which they hope to recover their lost women. Both worlds are populated by characters symptomatic of contemporary society, types easily recognizable both around us and perhaps in each of us.

Distribution:
Scipio:  Ion Tomorrow
A bold novel:  Tiberiu Covaci
Paul:  Emil Sauciuc
Romans:  Ion Abrudan, Nicolae Barosan, Marcel Popa, Marcel Segărceanu
Cleopatra:  Cristina Schiopu
Prosepin:  Mariana Neagu
Veronica:  Anca Miere Chirilă
Sabine:  Alla Tautu, Simona Constantinescu, Aurora Leonte, Mariana Vasile
Sabines:  Eugen Tugulea, Ion Martin
March:  Eugen Harizomenov
The teacher:  Laurian Jivan
Proserpine's husband:  Nicholas Thomas
Other Sabines:  Eugen Tugulea, Ion Martin

Technical director: Mărioara Goina
Prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Dorel Olea

Comedy in two parts by Eugène Labiche
Translation: V.Timuş

Artistic director: Zoe Anghel Stanca
Assistant director: Ion Abrudan
Scenography: Maria Haţeganu
Premiere date: March 30, 1982

„"The Florentine Hat" combines elements from the two extremely widespread genres of 19th-century French theater – vaudeville and "la pièce bien-faite" – creating an alert and fanciful plot, interwoven with numerous secrets and confusions that maintain the viewer's good mood.

On the morning of the day that Fadinard, a wealthy bachelor from Paris, is to marry Hélène, the groom's horse eats the straw hat of the young Anais, who is engaged in an affectionate conversation with her lover. Fadinard is forced to find an identical hat, since Anais has a jealous husband, who would become suspicious upon seeing this disappearance. Without telling his fiancée, Fadinard sets off in search of the twin hat, a task that seems simple at first glance, but which turns out to be very complicated. His search takes him to a hat shop, then to a baroness who is giving a musical party (mistaking him for a tenor, the baroness forces the future groom to sing for the guests), and finally to Mr. Beauperthuis - none other than the jealous husband of Anais, who is left without a hat. Throughout this journey, Fadinard is closely followed by his fiancée and the entire bridal party, the chain of complications taking on ever greater proportions. The situation risks becoming threatening, but Uncle Vézinet's wedding gift – a straw hat – saves and clarifies everything, and the play ends in a celebratory atmosphere of regained calm.

Distribution:

Felix:  Marcel Popa
Virginia:  Anca Miere Chirilă
Vezinette:  Grig Schitcu, Eugen Tugulea
Fadinard:  Emil Sauciuc
Emile:  Ion Abrudan
Anais:  Cristina Schiopu
Gardener:  Marcel Segărceanu
Helene:  Aurora Leonte
Bob:  Tiberiu Covaci
Flair:  Mariana Neagu
They were late:  Laurian Jivan
Achilles:  Nicholas Thomas
Baroness:  Alla Tautu
Clotilde:  Ileana Iurciuc
Beauperthuis:  Eugen Harizomenov
Corporal:  John Martin

Technical director: Mărioara Goina
Prompter: Dimitrios Stefanidis
Lighting: Vasile Blejan
Sound: Dorel Olea

Two-part show by Marin Sorescu
Absolute premiere

Artistic direction and scenography: Sergiu Savin
Assistant director: Eugen Harizomenov
Prologue lyrics: Mircea Dinescu
Music and soundtrack: Nicolae Moranciu
Premiere date: November 19, 1981

„"People can unravel... like a fan, you understand? There are several distinct individualities in each of us." This is one of the possible keys to reading the dramatic essay "The Fan House" by Marin Sorescu, a parable of the common man, of the mediocre, conformist individual, incapable of intellectual achievements and major human relationships. From the closed universe, in which the days pass identically, dullly, without a future perspective, one can escape only through imaginary journeys, a condition of survival: "If I couldn't duplicate myself, I couldn't live," says Vlad, the main character of the play. He tries to define himself in all planes of life - moral, material, spiritual, political - ("I'm looking for myself") and is "infested with alter-egos like a cave of echoes." His alter-egos (Vlad I, Vlad II, Vlad III, Vlad IV) are, in fact, the same character, in more or less truthful hypostases. Vlad is not content with doubling himself, but also splits his wife – Tinca I, II, III, Anca, into increasingly younger positions. Therefore, as Radu Enescu notes in ”Literary Romania„, the play addresses the ancient philosophical problem of the One and the Multiple, categorically ruling in favor of the latter. However, the character can multiply, but cannot surpass himself, not even in the realm of the imaginary.

Distribution:

Vlad I:  Ion Tomorrow
Vlad II:  Eugen Harizomenov
Vlad III:  Eugen Tugulea
Vlad IV:  Marcel Popa
Tench I:  Alla Tautu
Tench II:  Anca Miere Chirilă
Tinca III and Anca:  Mariana Neagu
Daniela:  Aurora Leonte
Vladuleasa:  Ion Abrudan
In the Prologue and Epilogue:  Nicolae Moranciu, Emil Sauciuc

Technical director: Mărioara Goina
Prompter: Dimitrios Stefanidis
Lights: Iosif Balogh
Sound: Dorel Olea

Crime comedy by Robert Thomas
Translation: Dina Cocea

Artistic direction:  Otto Szombati Gille
Assistant director: Marcel Segărceanu
Scenography: Tatiana Manolescu Uleu
Premiere date: October 15, 1981

„"Double Game" uses the formula of detective entertainment, and the author frames the play in the genre of boulevard theater. Everything seems hard to believe in the show, but the playwright's message seems to be that the truth itself often resembles a lie.

A wealthy Swiss woman quickly realizes that the charming man she married is actually a greedy, brutal, deceitful being. Uncovering a family secret, she devises, with the help of her maid, a stratagem that she believes is logical and unbeatable. Will she be able to free herself or will her plan be discovered?

Distribution:

Michel and Richard:  Nicolae Barosan
Francoise:  Cristina Schiopu
Louise:  Mariana Vasile
Sartons:  Marcel Popa
The Commissioner:  Marcel Segărceanu
Policeman:  Grig Schitcu, Eugen Harizomenov, Ion Martin

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

Comedy by Ion Lucian and Virgil Puicea

Artistic direction: Ion Lucian
Assistant director: Ion Abrudan
Scenography: Maria Haţeganu
Choreography: Florea Crişu
Premiere date: October 4, 1981

Intended for the young audience of the theater, the show «Snoave cu măşti» grouped a suite of comic scenes, between which were interspersed numerous moments of dances, songs and pantomime, all having as a starting point folkloric and popular elements. Inspired by the secular game with masks that has a considerable history in the Romanian space, the show had as its main character a hero with a fabulous popular biography – Păcală – known for his humor and agility, hidden under the appearance of naivety and simplicity. New exploits of Păcală were imagined, between which were interspersed scenes from the rituals of birth, wedding and funeral, as well as other atmospheric elements. The entire show was created and perceived as a game, in which the exchange of masks and identities is accepted as a natural thing and in which joy comes first.

Distribution:

Caution:  Emil Sauciuc
Ilenuta:  Catalina Barca, Ileana Iurciuc
Mother and A villager:  Alla Tautu
The Bear and A Villager:  Simona Constantinescu
The Lady and a Villager:  Anca Miere Chirilă
A villager:  Mariana Neagu
Ursitoare, A Villager and the Gypsy:  Cristina Schiopu
A villager:  Mariana Vasile
The Bear, A Villager and the Gypsy:  Aurora Leonte
The Rich Man, A Gendarme and the Suitor:  Marcel Segărceanu 
The leader of the band, a gendarme, the first captain and the servant:  Marcel Popa
Captain II, Logofatul, Zapciul:  Ion Abrudan
A gendarme, Death and a villager:  Nicolae Barosan
The Old Man, the Monk, the Captain III, the Innkeeper:  John Martin 
Captain IV, The Logofatul, A gendarme:  Tiberiu Covaci
Captain V, A gendarme and the Father:  Laurian Jivan
Children:  Anca and Lioara Bradu

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy by Mikhail Bulgakov
Translation: Aneta Dobre and Galina Cernicova

Artistic direction and stage version: Alexandru Colpacci
Scenography: architect Dan Jitianu
Musical illustration: Felix Şipoş
Premiere date: June 4, 1981

The starting point of the comedy "Tsar Ivan Changes His Profession" is placed in Moscow in the 1930s, a context in which the engineer Timofeev invents a rudimentary time machine, through which he sends the block administrator Ivan Vasilievich Bunsha four centuries into the past. In his place appears the fierce and legendary Tsar Ivan the Terrible. Thus, the upheaval is total: Bunsha finds himself still in Moscow, but at Ivan's court, while the latter is transported to the future and must understand and behave according to the avatars of the modern world. Bunsha substitutes for the Tsar, an opportunity which reveals his true tyrannical nature; Ivan the Terrible, taken as a talented actor, tries to sort out the sentimental entanglements of the engineer Timofeev. The scenes of the comedy alternate rapidly between eras, the effect being almost cinematic. The confusions and qui-pro-quos are continuous, and the comic is accentuated by the modern elements of contemporary language overlaid with archaisms used four centuries ago.

The interest of the play does not lie, however, in the differences between the two eras, but in their perhaps unexpected convergence. The similarities are found in the qualities of the people, which have remained essentially the same over the centuries, but also in the situations depicted, which have a timeless character. The parodic substratum transforms the entire incident into a parable.

In the end of the play – dominated by a lyrical note –, order is restored, each character returns to his era, and moreover, it is suggested that everything was only a dream of engineer Timofeev, but a dream with a great load of ideas, associations and meanings.

Distribution:

Timofeev:  Liviu Rozorea
Bunsha and Tsar Ivan:  Nicholas Thomas
Miloslawski:  Eugen Harizomenov
Shpak:  Ion Abrudan
Jakin:  Marcel Popa
Fedka:  Laurian Jivan
The Swedish Ambassador and the Ballerina:  György Tóth
The Bishop:  Grig Schiţcu
Zinaida:  Ileana Iurciuc
Militiaman:  John Martin
Uliana and Tsarina:  Mariana Neagu
Soloist:  Anca Miere Chirilă

Technical director: Mărioara Goina
Prompter: Dimitrios Stefanidis
Lighting: Vasile Blejan, Iosif Balogh
Sound: Dorel Olea

Four-part play by Jozef Hen
Translation: Eva Colpacci
National premiere

Artistic director: Tadeusz Pliszkiewicz (Poland)
Scenography: Tatiana Manolescu Uleu
Artistic consultant: Alexandru Colpacci
Premiere date: May 28, 1981

A detective story, "Hostage Z" starts from the ever-present theme of terrorism embodied in violence, kidnappings and attacks. The psychological charge of the play arises both from the tension between the victim and the villains, and from the conflicts that arise in the group of five kidnappers. The kidnapping victim, Herbert, is a modest character, full of morbid tics. The five aggressors make up a gallery of diverse characters, in which the tendencies towards robbery and violence are unexpectedly mitigated by inclinations towards humanity and compassion: doctor Carlo (the leader of the group), Otto – petty and ferocious, the gravedigger Pietro, the young Paul and Ilza – a tough, degraded woman. The message of the play is that, despite the alienation of the being under the influence of complexes or obsessions generated by the social environment, salvation, humanism and normality remain possible.

Distribution:

Otto:  Ion Tomorrow
Peter:  Marcel Segărceanu
Herbert:  Nicolae Barosan
Paul:  Dan Glasu
Ilsa:  Cristina Schiopu
Carlo:  Eugen Tugulea

Technical director: Elena Varlam
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh
Sound: Dorel Olea

Play in two parts by Paul Everac

Artistic director: Dan Alecsandrescu
Scenography: Maria Haţeganu
Premiere date: March 17, 1981

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:  Dan Glasu, Tiberiu Covaci
Dido:  Cristina Schiopu
Baltatu:  John Martin
Bush:  Ion Tomorrow
Ilihoi:  Jean Sandulescu, Petru Diaconu, Marcel Popa

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

AWARDS:
-3rd Prize at the National Festival "Singing Romania"„

Play in four parts by Maxim Gorky
Translation: Emma Beniuc
Tribute show celebrating 25 years of theater for actor Jean Săndulescu

Artistic director: Dan Alecsandrescu
Scenography: Traian Nițescu
Musical Moments: Florian Chelu
Premiere date: January 29, 1981

„"In the play "The Old Man" I tried to show how repulsive a man is when he is immersed in his own troubles; he begins to believe that he has the right to torment others because he, in turn, has been, rightly or wrongly, tormented." (Maxim Gorky)
The play centers on two convicts who relate differently to the suffering they were sentenced to for a real or imaginary crime.

Mastakov believes that suffering is a moral necessity of a heroic type; for him, torment brings purification. Therefore, he finds himself in a psychological dilemma: to choose a free life – which implies flight and then the permanent fear of punishment, or to accept his guilt, to own it, thus achieving spiritual purification and peace? He opts for escape, rebuilds his life under a false identity and tries to redeem his peace of mind through work and kindness.

The old man remained in prison, and now he comes to judge severely, believing that the sufferings he has endured give him this right. He is a man who can no longer love his fellow men, because they have hardened him, punishing him and depriving him of his freedom. The old man goes to Mastakov's house, convinced that he is the master of his soul and life, and threatens him with denunciation and destruction in the name of alleged justice. Wracked with remorse, Mastakov does not deny him this right. The lack of strength and the belief that he has built his life on a lie lead him to commit suicide.

Distribution:

Ivan Vasilievich Mastakov:  Eugen Tugulea
Pavel, his stepson:  Ion Abrudan
Tatiana, his stepdaughter:  Ileana Iurciuc
Zakharovna:  Alla Tautu
Stepanich:  Marcel Segărceanu
Sofia Markovna:  Simona Constantinescu
Kharitonov:  Nicholas Thomas
Jacob, his grandson:  Nicolae Barosan
Nikita:  John Martin
The old man:  Jean Sandulescu
Girl:  Mariana Neagu

Technical director: Elena Varlam
Prompter: Dimitrios Stefanidis
Lighting: Vasile Blejan
Sound: Dorel Olea

Play in two parts by Ecaterina Oproiu

Artistic director: Otto Szombati Gille
Assistant director: Grig Schiţcu
Decor: I. Géza Bíró
Costumes: Maria Hateganu
Premiere date: December 25, 1980

A polemical play, "The Interview" draws its substance from a theme that author Ecaterina Oproiu also addressed in the volume of reports "3 x 8 plus the infinite": the condition of women in contemporary society. The dramatic pretext is a festive broadcast for March 8, which is being prepared on television sets, transforming into a true existential duel between a Reporter and a Reporter. Intelligent, agile, passionate about their profession, passionate, the two reach the threshold of a drama of separation caused by differences in principles. The equality of rights between women and men, enshrined by law, is not manifested in all circumstances of life. What are, further, the attributes of femininity?
A lively piece that advocates for considering women as Humans above all else.

Distribution:

Reporter:  Cristina Schiopu
Reporter:  Dan Glasu
You are from the lectern:  Mariana Vasile
Sweaty:  Anca Miere Chirilă
Mayor:  Mariana Neagu
Lawyer:  Alla Tautu
A woman in the hay:  Olympia Tomorrow
The left-hander:  Grig Schiţcu
Second:  Simina Ciocan

Technical director: Elena Varlam
Prompter: Simina Ciocan
Lighting: Vasile Blejan
Sound: Dorel Olea