Café-theater show
Major political trials
Screenplay, artistic direction and performance: Radu Vaida
Premiere date: June 6, 1978

A documentary performance, "And Yet..." was a collage of depositions from famous political trials. The performance was included in the Oradea café-théâtre series and participated in the 5th edition of the Bacău Dramatic Recitals Gala (May 11-15, 1978).

Comedy in two parts by Adolf de Herz
Stage adaptation: Emanoil Enghel

Artistic direction:  STEFAN Farkas and Ion Tomorrow
Scenography: Tatiana Manolescu Uleu
Premiere date: May 25, 1978

A light comedy with a boulevard feel, "Confounding the World" centers on the efforts of a husband who is skilled in his profession, but less skilled in his married life, to save a difficult situation, which he entered into willingly, without suspecting the possible consequences. Staying late in the city, with friends, and meeting a beautiful girl, Emil Strâmbuleanu looks for a truthful lie to calm his worried wife. The pretext he finds involves "friend X, the former colleague at the bank." Surprise! Within five minutes, the colleague really appears, to the husband's amazement and the wife's joy. Once he appears, however, he begins to confuse the world...

Distribution:

Emil Strâmbuleanu:  Ion Tomorrow
Didina Strâmbuleanu:  Olympia Tomorrow
Bungrazescu:  Marcel Popa
Matthew Pintenaru:  Nicholas Thomas
Olga:  Mariana Neagu

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

Comedy by Ion Băiesu
Absolute premiere

Artistic director: Alecu Croitoru
Assistant director: Jean Săndulescu
Scenography: Maria Haţeganu
Premiere date: April 13, 1978

Under the guise of a comedy that delights, Ion Băieşu's play "Alibi" analyzes the structure of social phenomena, while offering a remedy for the problems described with a critical eye. The starting point is the story of a fake traffic accident, an episode that, according to the author's confession, is inspired by a real event. The center of interest of the play, however, lies in the portrayal of Gripcă, the head of the human resources and personnel sector, an almost sinister character, capable of artificially removing people employed on the natural path of their professional careers. He unscrupulously displays his arsenal at his disposal, from gossip to blackmail by revealing intimate secrets, and the proximity to known realities gives rise to a special tension in the play.

The character Bebe is, in turn, an eccentric figure, a miraculous stuntman, a globe-trotter who wants to circumnavigate the earth on foot. Through his love for the student Gabi and through his invitations to rediscover the dewy grass and the evenings with crickets, Bebe becomes the messenger of the return to humanity, and this is, perhaps, part of the remedy sought and imagined by the playwright.

Distribution:

Gicu Crucescu:  Jean Sandulescu
Eleanor:  Simona Constantinescu
Gabi:  Mariana Neagu
Bubble:  Nicholas Thomas
Woman:  Olympia Tomorrow
Grip:  Marcel Segărceanu
Valentine:  Anca Miere Chirilă
Popovici and the Postman:  Grig Schiţcu
Baby:  Radu Vaida
Militiaman:  John Martin 
The unknown:  Dimitrios Stefanidis

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

The first theatrical text in Romanian attributed to Samuil Vulcan in absolute premiere in Oradea

Stage adaptation and artistic direction: Ion Olteanu
Assistant director: Ion Abrudan
Scenography: Tatiana Manolescu Uleu
Premiere date: February 18, 1978

„"The Murder of Grigorie Vodă in Moldova Tragically Exposed" is the first known original Romanian play, preserved in its entirety and in good condition. Written between 1778-1780, the play was discovered by historian Nicolae Densuşianu in Oradea in a precious collection of manuscripts belonging to scholar Samuil Vulcan. The staging of the play at the State Theatre in Oradea was a cultural act warmly received by the press and intellectuals of the time:

„"A truly reparative gesture, of returning to the stage, for the theater spectator, a text that, as can be seen upon careful observation, has valuable and significant implications, even certain artistic valences, considering that we find ourselves in front of a pioneering work in our theater and dramaturgy." (Lucian Drimba).

„"Bringing to the stage the work in which our dramaturgy finds its beginning work, both in the tragic and comic fields, whose content remains exemplary, constitutes an act of culture made to resonate in the consciousness of Romanians everywhere." (Virgil Brădeţeanu).

The vicious murder of the Moldavian prince Grigore Ghica because he opposed the annexation of Bukovina by the Austrians is a theme that enjoyed wide circulation in all the Romanian provinces. However, under the title that suggests a historical tragedy, a farce is actually hidden. The play was intended for representation during carnival or student parties, which is why the author includes playful episodes, apparently unrelated to the main subject. Customs and beliefs are depicted: a fair scene, the suitor, a sézătoare, but also burlesque episodes such as dances performed by soldiers or the predictions of a gypsy astrologer with an onion clock. The author leaves freedom of improvisation to the performers, as in the commedia dell'arte, with which this play has visible affinities.

Distribution:

Gregory Ghica:  Ion Tomorrow
The Emperor:  Dorel Urlățeanu emeritus artist
Pasha:  Eugen Tugulea
Mrs. Ghica:  Simona Constantinescu
Denial:  Ileana Iurciuc
Horcholina:  Anca Miere Chirilă
The Rhapsode:  Radu Vaida
The elders:  John Martin
Host:  Marcel Popa
Happy:  Mircea Constantinescu
Advisor Vasile:  Ion Abrudan
Advisor Ion Simion:  Grig Schiţcu
Secretary:  Marcel Segărceanu
Applicant:  Laurian Jivan
Turkish Advisor I:  Nicolae Barosan
Turkish Advisor II:  Nicholas Thomas
The doctor:  Jean Sandulescu
Soldiers:  Dumitru Cora, Mihai Tocai, Dumitru Mesaros, Vasile Covaci

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

– Show awarded the Grand Prize at the 2nd Edition Theatre Weeks Short, 1978

Comedy in two parts by Leonard Gershe
Translation: Elisabeta Pop, Teodor Crişan, Otto Szombati Gille
National premiere

Artistic direction: Otto  Szombati Gille
Scenography: Gheorghe Iovian, Ştefan Weiss
Music: Florian Chelu
Premiere date: February 9, 1978

A tender, moving play, "Butterflies Are Free" was one of the most successful performances on Broadway, and also enjoyed a cinematic adaptation to match this success. Born blind, Don lived his entire life with his mother, almost tyrannical in her affection. In his early youth and in full expansion of the flower-power movement, Don decides to break away from his mother's tutelage, in search of freedom and his own identity. Soon, he knows a different meaning of love than the maternal one, through Jill, an actress at the beginning of her career and already gone through a divorce. A woman-child, irresponsible, playful, Jill fascinates Don with her exuberance, just as Don conquers Jill with his culture and lifestyle that makes him different from all her lovers up to that point. Beyond melodrama and sentimentality, the show captures situations that remain essentially the same despite the passage of time, with young adults being shaken by the same small dramas, equivocal situations and uncertainties.

Distribution:

Don Baker:  Nicolae Barosan
Jill Tanner:  Ileana Iurciuc
Mrs. Baker:  Alla Tautu
Ralph Austin:  Ion Abrudan, Mircea Constantinescu
They sang in the show:  Florian Chelu and Lidia Lazău

Technical director: Marioara Goina
Prompter: Florence Manea
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in two parts by George Ciprian

Artistic direction: Sergiu Savin
Scenography: I. Géza Bíró
Premiere date: January 27, 1978

„"Man plays in childhood to amuse himself and relax, below the level of serious life. He can also play above that level: he can play games of beauty and holiness." (Johan Huizinga).

Reunited after several years of wandering around the world, Macferlan, Ciriviriş, Bălălău and Pentagon ad-hoc found the association "Capul de Răţoi". The four knights of freedom begin a youthful game, aiming to free themselves from conventions, from the useless principles imposed by the authorities and society: they stop passers-by to engage in meaningless dialogues, greet by genuflecting, etc. They take refuge in the Tree of Joy, which becomes the headquarters of the association, the place where friends live at a pace and according to the norms they have established, enjoying the small joys of life. Above the petty and petty worries of the lower world, the four build their own universe, where evil does not penetrate, where people greet each other, respect each other, dream. Ridiculous at times in their fight against the conventional, like Don Quixote, they assume their roles to the point of overlapping. That is why their mood during the game "for the better" has a solemn tone. Determined to change something, they awaken unsuspected springs in their peers: they convince Rosenzveig to change his name, the grumpy husband to comfort his wife and children, they teach Efimita what true friendship means, thus becoming messengers of hope.

Distribution:

Cirivish:  Mircea Constantinescu
Macferlan:  Radu Vaida
Gawk:  Laurian Jivan
Pentagon:  John Martin
Dacian:  Ion Tomorrow
The Inspector, the Man with the Plates and a Gentleman in a Hurry:  Ion Abrudan
Musat and the Lord with the cigarette:  Eugen Tugulea
Rosenzweig:  Jean Sandulescu 
The Commissioner:  Grig Schiţcu
Aglaia:  Simona Constantinescu
Efimita:  Ileana Iurciuc
The Journalist and a Passerby:  Nicolae Barosan
The Blackbird, A Skinny Woman and The Woman with the Flower Pot:  Alla Tautu
A street woman, A passerby and Madam Bălăloiu:  Mariana Neagu
Student I:  Nicolae Moranciu
Student II:  Dimitrios Stefanidis
Students:  Ioan Boţ, Rodica Blege, Gabriela Demian, Cornel Erdeli, Eva Crainic, Liviu Pavlovski

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

Satirical-musical show by Stelian Vasilescu

Artistic director: Ion Mainea
Scenography: Eliza Popescu
Music: Temistocle Popa, Marius Ţeicu, George Grigoriu, Mihai Constantinescu
Musical direction: Ludovic Boross
Premiere date: December 10, 1977

The revue show „Aşa e viața” grouped scenes from the immediate vicinity of the spectators, satirizing drunkenness, immorality, incompetence, unfairness and other immortal human flaws, starting from prose moments – sketches, monologues, jokes signed by Tudor Muşatescu, Stelian Vasilescu, Dumitru Solomon, Dimitrie Bălan, Gr. Pop, A. Chirilă, I. Piţigoi. The good mood and quality humor were enhanced by the musical moments offered by various performers, accompanied by the theater orchestra. „An interesting game of drawing-guessing (droodl), conducted with sufficient ease by the show’s presenter, Marcel Popa, contributed to animating the hall, to cheering up the audience, who were now forced to think among their laughter.” (T. Vasile – „Familia”, December 1977)

Interpreters:

Olympia Tomorrow
Anca Miere Chirilă
Ileana Iurciuc
Mariana Neagu
Mariana Vasile
Nicholas Thomas
Marcel Segărceanu
Grig Schiţcu
John Martin
Marcel Popa
Nicolae Barosan
Florence Manea

Guests in the show:

Lidia Lazau
Mihaela Boboia
Florian and Lucian Chelu
Dan Greavu
Elizabeth Olah

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

de  Slavomir Mrožek
Traducerea: Ioana şi Tudor Savu
National premiere

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Data premierei:  23  septembrie 1977

În „Emigranţii”, Slawomir Mrozek conturează o imagine dureroasă a dramelor dezrădăcinării, portetizând cu ironie şi cu subtilitate doi emigranţi polonezi la Paris. Drama socială şi economică dublează drama morală şi psihologică a celor ce au emigrat în căutarea bunăstării. Juxtapunerea între ideal şi dezamăgirea trăită este dramatică.

Cei doi emigranţi sunt radical diferiţi ca structură şi pregătire: AA este un intelectual inteligent, detaşat, îndrăgostit de concepte, exaltat şi vizionar; XX este un muncitor şiret şi patetic, robust şi totodată fragil din punct de vedere moral, vulnerabil prin împrejurarea în care se află. Cei doi nu reuşesc să comunice, se acuză, se suspectează, se dispreţuiesc, ajungând chiar în pragul crimei. Ce-i uneşte atunci? Subsolul sordid în care locuiesc; dorul de casă; naţionalitatea, condiţia de paria. „Dar, poate mai mult decât atât, regretul, notează Bogdan Ulmu în „România literară” (1977). Faptul că unica lor certitudine era apartenenţa etnică, matca geografică; prin ea aveau un rost în lume, ea le oferise o familie, o profesie, o noimă existenţială. Fugind, n-au plecat „spre ceva, ci de ceva”, nuanţă pe care-o realizează tardiv, cu lacrimi în ochi”.

Ei visează în continuare la tărâmul promisiunilor, al fericirii, dar printr-un paradox dureros, acesta devine ţara pe care au părăsit-o şi în care poate nu vor mai ajunge niciodată.

Distribution:

AA:  Mircea Constantinescu 
XX:  Radu Vaida

– Spectacolul a fost distins cu premii de regie pentru spectacol şi de interpretare la Colocviul de regie de la Bârlad (1978) şi Premiul A.T.M. pentru regie: Alexandru Colpacci
– În anul 1982 spectacolul s-a transmis pe postul televiziunii naţionale

Comedy by Paul Everac
National premiere

Artistic director: Szombati Gille
Scenography: I. Géza Bíró
Premiere date: September 15, 1977

Director Farfuz in the comedy "Kidney Stone" by Paul Everac embodies that boss accustomed to deciding alone and abusively who will be promoted, demoted or fired, transforming the sector he leads into a personal feud. He is seconded by an accomplice chief of staff and a union president lacking energy and will. The mechanism is perpetuated until Vigil Urechiatu, under the impulse of a kidney crisis, rises up against this state of affairs, affirming some truths that others did not dare to say. He denounces the lie, the imposture, the greed, the scam, the dishonesty that infiltrates society like kidney stones in a healthy body. The kidney crisis becomes the crisis of truth that scares the leaders, especially since it is contagious, encompassing all the employees.

Written in the hope of correcting some of the flaws of contemporary society, the play benefits from a filmic structure, with rapid transitions from one scene to another. "Stone in the Kidney" is an exhortation to a firm attitude, to disapprove of situations similar to those in the play, and advocates the rejection of comfort, indifference, and blindly passing by reprehensible deeds and fellow human beings worthy of all contempt.

Distribution:

Virgil Urecheatu:  Ion Abrudan
Farfuz:  Ion Tomorrow 
Mess:  Nicholas Thomas
Lathe:  Grig Schiţcu
Dr. Ranchiş:  Marcel Segărceanu
Carob:  Marcel Popa
Viorel Scurtulet:  Ion Martin, Mircea Constantinescu
Camelia Stracsineanu:  Mariana Vasile
Pride:  Olympia Tomorrow
Doctor Odobica:  Alla Tautu, Simona Constantinescu
Nurse:  Doina Urlățeanu
Spade:  Anca Miere Chirilă
Geta Pie:  Mariana Neagu, Florence Manea

Technical director: Mărioara Goina
Prompter: Florence Manea
Lights: Emeric Kozák, Mihai Farkas
Sound: Dorel Olea, Iosif Balogh

Tribute show 1877
Screenplay and artistic direction: Eugen Ţugulea
Scenography: Eliza Popescu
Musical direction: Miron Raţiu
Premiere date: May 9, 1977

Interpreters:

Simona Constantinescu
Alla Tautu
Radu Vaida
Nicolae Barosan
Marcel Popa
Ion Tomorrow
John Martin
Jean Sandulescu
Nicholas Thomas

Recital 1907
Screenplay: Andrei Bokor

Directed by: Szombati Gille Otto
Scenography: Tatiana Manolescu Uleu
Music and musical direction: Miron Raţiu
Premiere date: April 6, 1977

Interpreters:

Ion Abrudan
Nicolae Barosan
Simona Constantinescu
Ileana Iurciuc
Laurian Jivan
John Martin
Olympia Tomorrow
Ion Tomorrow
Anca Miere Chirilă
Eugenia Papaiani
Jean Sandulescu
Marcel Segărceanu
Alla Tautu
Nicholas Thomas
Eugen Tugulea
Radu Vaida
Mariana Vasile

Studio show
Lyrics selection: Andrei Bokor

Artistic director: Szombati Gille Otto
Scenography: Tatiana Manolescu Uleu
Premiere date: November 16, 1976

Interpret:

Nicholas Thomas
Alla Tautu
Olympia Tomorrow
Marcel Popa
Ion Tomorrow
Ion Abrudan
Mariana Vasile

National Enchantment, a two-part show, by Vasile Alecsandri

Stage version and artistic direction: Sergiu Savin
Scenography: Eliza Popescu
Music: Nicolae Moranciu
Premiere date: June 5, 1977

A luminous enchantment, but full of satirical verve, irony and lively spirit, "Sânziana and Pepelea" takes place in a society where everyone's motto is: "You get up, I'll put myself in it", led by Papură-Vodă - a weak and hesitant leader. The advisors Păcală and Tândăla behave like him, flatter him and hide the true reality of the kingdom from him. In the kingdom where total chaos reigns, Sânziana does not find her place, she does not feel safe. Disputed by Pîrlea and Lăcustă, symbols of desolation, Sânziana is kidnapped by Smeu and taken to his island. Sânziana will be saved by the clever Pepelea who, helped by the enchanted whistle received from the Fairy of the Lake, will free her from the spells and take her as his wife. A play that allows, through theater, a return to the dream world of childhood.

Distribution:

Papura Voda:  Laurian Jivan, Ion Abrudan
Sanziana:  Ileana Iurciuc
Pepelea and Crivăţul:  Mircea Constantinescu
Parlea Voda:  Ion Tomorrow
Grasshopper Voda:  Radu Vaida
Caution:  Ion Abrudan, Marcel Popa
Tandala:  Grig Schiţcu
The Lake Fairy:  Alla Tautu, Eugenia Papaiani
The Forest Fairy:  Mariana Neagu, Mariana Vasile
The kite:  Nicolae Barosan
Palm-Beard-Elbow Status:  John Martin
In other roles:  Olimpia Tomorrow, Doina Urlăţeanu, Dimitrios Stefanidis, Marin Monoc, Misu Serban

Technical director: Dalma Simionescu
Prompter: Florence Manea
Lights: Emeric Kozak
Sound: Dorel Olea

Play in two parts by Mircea Bradu
Absolute premiere

Artistic direction: Alexandru Colpacci
Scenography: T.Th.Ciupe
Musical illustration: Cornel Pop
Premiere date: April 17, 1977

„"Whom shall we rely on? The Romanian people. Ourselves." is one of the key phrases of the play "The Decision", dedicated to the Centennial of Romania's state independence. Approaching the formula of documentary political theater, the play makes a trial of the Cold War of European diplomacy that confronted their interests without taking into account the Romanian people's aspiration for freedom. The successive moments of obtaining independence are captured, from the attempt to obtain through diplomatic means a favorable position from the great powers of the time towards Romania's intention to emancipate itself from the tutelage of the Ottoman Porte, to the victorious fight against it. Among the documentary scenes such as the diplomats' ball in Vienna or the disputes of politicians in the Bucharest Parliament, the playwright Mircea Bradu inserts several fictional biographies, but also real figures, who played essential roles in the unfolding of the events of 1877: Mihail Kogălniceanu, Ion Bălăceanu, Chancellor Andrassy. The culmination of this intensely burning play is the moment of historical decision, materialized by Romania's entry into the war. As Radu Enescu notes in issue 4 of the magazine "Familia" from April 1977, "the merit of the play lies in being captured in history, not its museum and documentary aspect, but its living essence, its relevance for contemporary times."”

Distribution:

Alexander:  Nicolae Barosan
Mary:  Eugenia Papaiani
Russell:  Mircea Constantinescu
Anna:  Simona Constantinescu
John Balaceanu:  Eugen Tugulea
M. Kogălniceanu:  Ion Tomorrow
Hans and Peter:  Radu Vaida
Blowitz:  Jean Sandulescu
The Austrian attaché and Tache:  Grig Schiţcu
The German attaché and Popescu:  Valentin Avrigeanu
The French attaché and Brătianu:  Marcel Popa
The English attaché and Ion Ghica:  Corneliu Gheba
Murad:  Nicholas Thomas
Ignatiev:  Marcel Segărceanu
Nehoda and Stuart:  Ion Abrudan
Rosetti:  Laurian Jivan
Andrassy:  Dorel Urlățeanu emeritus artist
Paul:  John Martin
Soldier I:  Dimitrios Stefanidis
Soldier II:  Marin Monoc
In other roles:  Gheorghe Cîmpeanu, Gheorghea Meglea, Tiberiu Gall, Petru Opriş, Iosif Silaghi

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

Comedy in two parts by Dario Fo
Translation: Angela Ioan

Artistic direction: Sergiu Savin
Scenography: Eliza Popescu
Premiere date: March 3, 1977

In "The Seventh Commandment: Steal a Little Less", Dario Fo, winner of the Nobel Prize for Literature in 1997, recovers the modalities of popular farce, vaudeville and commedia dell'arte, incorporating the modern tradition of Pirandello and Brecht, as well as elements from the theater of the absurd. The action of the play written in 1964 evokes the great trials that were taking place in Italy at that time against officials who embezzled the state. The plot of the play summarizes the path of a woman - a gravedigger - from naivety and lack of experience to understanding a society in which all kinds of swindlers, dishonest businessmen, and prostitutes evolve. The action takes place in the warehouse of a cemetery and in an asylum for the insane, the latter being the only people who live happily in the surrounding reality precisely because they lack a correct understanding of it. A complex play, full of verve, a mixture of comedy, polemic and political-social satire.

Distribution:

Aeneas:  Mariana Neagu
Mr:  Laurian Jivan
The Lord's Wife:  Simona Constantinescu
The Professor and the Gravedigger I:  Ion Abrudan
The Thief and the Gravedigger II:  Radu Vaida
The Judge and the Gravedigger III:  Eugen Harizomenov, Eugen Ţugulea, Marcel Popa
The Commander and the Gravedigger IV:  Nicolae Barosan
Cocota:  Alla Tautu
Cocota I and Călugăriţa II:  Ileana Iurciuc
Cocota II and Călugăriţa I:  Mariana Vasile
The director:  Ion Tomorrow
The Commissioner:  Marcel Segărceanu
Mother Superior:  Anca Miere Chirilă
His Excellency:  Nicholas Thomas
The guard:  Grig Schiţcu 
The guard's wife:  Doina Urlățeanu

Technical director: Dalma Simionescu
Prompter: Florence Manea
Lighting: Vasile Blejan
Sound: Dorel Olea

drama in four acts by Leonid Andreev
Translation: Al.Mirodan and Xenia Stroe
National premiere

Artistic direction: Alexandru Colpacci
Scenography: Tody Constantinescu
Original music: Florian Chelu
Premiere date: December 16, 1976

In the play "To the Stars", the echoes of the first Russian revolution mingle with the interest in scientific themes - astronomy - ending up formulating philosophical and rhetorical questions regarding the future. The message of the play is that there are two paths that lead to the future, to the stars: scientific knowledge of the mysteries of the universe and the revolutionary struggle to build a new society.

A family of Russian intellectuals who emigrated to Germany experience on a small scale the turmoil of the first revolution in Russia in 1905. Nikolai is the pivot of the action: the son of the émigré scientist, a fighter in the revolution and fallen into the hands of oppressive forces, he is the reference element for everyone, who defines their memories, their way of thinking and being. Nikolai's disappearance will bring to light the inner balance of his old father, the only one capable of censoring his pain ("... I see the cosmos and I see life everywhere boundless and triumphant... and I cannot weep for a single being"), will shake Inna Alexandrovna's motherhood, will exalt the imagination of her younger brother, Petea, and will dampen Treutsch's overflowing optimism.

A humanistic and poetic play par excellence, abounding in metaphors, parables and aphorisms, "To the Stars" places, at equal distance between heaven and earth, the trust in man's power to overcome any defeat, to believe in life and in the triumph of reason.

Distribution:

Sergei Nikolaevich Ternovsky:  Jean Sandulescu
Inna Alexandrovna Ternovskaya:  Simona Constantinescu
Anna:  Ileana Iurciuc
The spot:  Radu Vaida
Nikolai:  Florian Chelu
Valentin Alexeevici Verhovtsev:  Eugen Tugulea
Mariusa:  Mariana Neagu
Pollack:  Ion Abrudan
Joseph Abramovich Lunz:  Eugen Harizomenov 
Vasily Vasilyevich Zhitov:  Laurian Jivan
Treutsch:  John Martin
Old woman:  Anca Miere Chirilă

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

by Aurel Gh. Ardeleanu

Artistic direction: Sergiu Savin
Scenography: Petru Voichescu
Music: Nicolae Moranciu
Premiere date: November 23, 1976

„"Appassionata" is affiliated with political theater, having its sources, as the author confesses, in the newspapers of the time, in the reports of the Security informants, in discussions with illegalists and in the hearing of university lecturers specialized in the communist and labor movement. The period covered by the play's action is between 1941-1944, when the government of Marshal Antonescu and the royal power were facing the adversities caused by the Second World War and the communist movement that was gaining increasing momentum behind the front. A series of ”photograms„ without explicit compositional connections confront the two camps of the time: on the one hand, the representatives of state power – the Prefect, the Quaestor, the Agent, overwhelmed by the actions of communist propaganda, against which various measures are taken (arrests, combat brigades, executions, etc.), but they do not have the expected result – and on the other hand, the communists, towards whom the author’s sympathy is obviously directed. Several key moments of their activity are captured: meetings to organize the illegalist struggle, the establishment of the Resistance Committee, the procurement of weapons, the drafting of the manifesto, the enthusiastic formation of partisan detachments, sabotage actions against the German army.

The finale depicts the collapse of the pro-German Antonescu regime, with the turning of arms against fascism and the communists' ambitious plans to reconstruct the country sick and wounded by recent historical events.

Distribution:

Valentine:  Ion Abrudan
Stefan:  Nicolae Barosan
A communist:  Simona Constantinescu
Ilona:  Ileana Iurciuc
German officer:  Laurian Jivan, Radu Vaida
Girl:  Florence Manea
The young man:  John Martin
Mrs. Pauli:  Anca Miere Chirilă
The prefect:  Ion Tomorrow
Woman:  Olympia Tomorrow
The boy with the guitar:  Nicolae Moranciu
Grandmother:  Eugenia Papaiani
Chief of Protocol:  Marcel Popa
The agent:  Jean Sandulescu
The worker:  Marcel Segărceanu
Wife:  Alla Tautu
Former soldier:  Nicholas Thomas
The Quaestor:  Eugen Tugulea
The young woman:  Mariana Vasile
The Clerk and the Sculptor:  Radu Vaida

Technical director: Elena Varlam
Prompter: Dimitrios Stefanidis

Play in two parts by Rodica Padina
Absolute premiere

Artistic director: Otto Szombati Gille
Scenography: I. Géza Bíró
Musical illustration: Gheorghe Hausmann
Premiere date: October 10, 1976

The play "When the Grass Takes the Face of a Man" or "And There Will Be Nights of Love" engages in a debate in which professional ethics conflict with the ethics of power, but at the center of the plot is the biography of a love. The ties between Dana and Horia begin with a chance meeting through which two living intelligences are brought face to face, two inquisitive natures from whose interpenetration love will gradually be born. The fruit of a secret love, Dana grew up with the complex - sometimes ostentatiously displayed - of the flower child. Her only and great love was Barbu, the director of the clinic where Horia works. Petty, Barbu tries to block Horia's professional rise, so as not to risk his armchair, telephone and director's car. In turn, Horia has gone through a failed marriage and a series of gallant adventures that are unable to console him after the failed marital experience. Dana will share the young doctor's struggles and struggles to experiment with a new medicine he invented himself, a medicine that "feeds on sun and sap", through whose veins "flows the life it receives from the sun and air to pass on to others." Who will emerge victorious from this confrontation?

It distributed:

Horia:  Eugen Harizomenov
Berth:  Mariana Neagu
Joanna:  Simona Constantinescu
Beard:  Nicolae Barosan
Corina:  Eugenia Papaiani
Stefana:  Alla Tautu
Marine:  Mariana Vasile
Anna:  Ileana Iurciuc, Florence Manea

Technical director: Dalma Simionescu
Prompter: Florence Manea
Lighting: Vasile Blejan
Sound: Dorel Olea