Anniversary show
Screenplay: Elisabeta Pop

Artistic direction: Sergiu Savin
Scenography: Tatiana Manolescu Uleu
Premiere date: January 24, 1976

Interpreters:

Simona Constantinescu
Doina Urlățeanu
Olympia Tomorrow
Mariana Vasile
Eugenia Papaiani
Eugen Tugulea
Alla Tautu
Ion Abrudan

Ridiculous comedy in two parts by Gian Lorenzo Bernini
Dramaturgical restoration: Cesare D'Onofrio, Franca Caprino, Alberto Perrini
Translation: Florian Potra
World premiere

Artistic direction and script: Sergiu Savin
Assistant director: Mircea Constantinescu
Scenography: Petru Voichescu
Music: Nicolae Moranciu
Premiere date: June 5, 1976

The comedy "The Trevi Fountain or the Truth Unveiled" is a play full of fantasy and humor about the birth of a show, highlighting the joy and bitterness of its preparation, the difficulties, the unforeseen that lurks, the dedication of the artists, the interpenetration of the real plan into that of the game. The show is an "ars poetica", a profession of faith about theater, a commentary on the game with masks. The central idea conveyed by the show is that only an open attitude can guarantee the communion of man with his fellow men, being able to mirror the truth like the water in the fountain that has become a symbol of the perpetual return to the springs. Related in modality to the tradition of commedia dell'arte, the show meets all the attributes of a classic text: rationality, clarity, ideological or intellectual concerns.

Distribution:

Graziano:  George Pintilescu, Ion Mainea
Zanni Traffichino:  Eugen Harizomenov
Rosetta:  Mariana Neagu
Angelica:  Ileana Iurciuc
Cinzio:  Radu Vaida
Coviello:  Mircea Constantinescu
Alidoro:  Laurian Jivan
Coquettish:  Ion Abrudan
Iacaccia:  Marcel Popa
Sepia:  Nicolae Barosan
Pulcinella:  Dimitrios Stefanidis

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

Comedy in three parts by Victor Frunză
Absolute premiere

Artistic director: Otto Szombati Gille
Scenography: I. Géza Bíró
Premiere date: May 22, 1976

Through the show "The Great New Station", the author puts the Romanian realities of the time under the sign of absurdity. The construction of a train station in a provincial town is a remarkable event. Large, luxurious, a true architectural jewel, the station has no flaws at first glance. The entire play is built around the inauguration festivities of the new station, a chain of comic situations and hilarious incidents. The ending, however, reveals that no railway passes near the new station...

Distribution:

Station manager:  Ion Tomorrow 
Deputy:  Nicholas Thomas
Mommy, second deputy:  Alla Tautu
Hortensia:  Mariana Vasile
Hull:  Eugenia Papaiani
Sultana:  Olympia Tomorrow
The traveler:  Grig Schiţcu
The station master's wife:  Doina Urlăţeanu, Simona Constantinescu
Woman:  Anca Miere Chirilă
The architect:  Jean Sandulescu
Constructive with:  Dorel Urlățeanu
Comrade Misu:  Marcel Segărceanu
The spectator:  Simona Constantinescu
Reporter:  Radu Neag
The technician:  John Martin

Technical director: Dalma Simionescu
Prompter: Rodica Branea
Lighting: Vasile Blejan
Sound: Dorel Olea

by DRPopescu
National premiere

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Set design assistant: Iosif Kudelász
Premiere date: April 10, 1976

In "The Balcony", the author puts people of different ages into a moral equation, making them relive past history and understand present history, in order to confront each other and each with himself. The father, David Ionescu, the leader of a production unit, a former communist fighter in illegality, celebrates his birthday, taking stock of his life on this occasion. The son, Adrian, the living conscience of his youth, always reminds his father of the unfulfilled tasks; he draws his attention, with harshness and sarcasm, but also with tenderness, that he shelters worthless people, false friends, "moths of socialism" around him; he reproaches him for forgetting: the father has gradually distanced himself from the true, uplifting ideals of communist struggle; he seeks to convince him that the struggle waged in the past continues in his era, under other conditions and in other forms. To the mother, who has isolated herself from the world and is busy with gingerbread sculpture, Adrian demonstrates that selfishness is synonymous with cowardice. The dramatic plot becomes a great theatrical metaphor: under the distrustful gaze of the father, the impostors throw the son from the balcony, thus nullifying his revolutionary fervor, his call for intransigence and responsibility. Thus, the balcony, a symbol of neutral space, an extension of our peace and comfort, can become through indolence a repository of cowardice, impurities, sins and even crime.

Distribution:

Voichita:  Ileana Iurciuc 
Adrian:  Mircea Constantinescu
Melpometra:  Radu Vaida
Alex:  Eugen Harizomenov
The village:  Radu Neag
Cottage:  Ion Tomorrow
Bashat:  Ion Abrudan
Stella:  Doina Urlăţeanu, Alla Tăutu
David:  Eugen Tugulea
Rosalia:  Simona Constantinescu
Todera:   Marcel Popa
Fan:  Eugenia Papaiani

Technical director: Elena Varlam
Prompter: Rodica Branea
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in three acts by Ben Hecht and Charles McArthur
Translation: Andrei Baleanu
First in the country

Artistic director: Szombati Gille Otto
Assistant director: Ion Abrudan
Scenography: Tatiana Manolescu Uleu
Premiere date: January 15, 1976

Written by two playwrights originally from journalism, the play is set in the world of American journalists, driven by the ambition of revealing the unpublished, each of them dreaming of someday launching the great "bomb of the day", printed in lame letters on the front page of the newspaper. To ensure their success in the elections, the mayor of the city and his trusted men, among whom the most important pawn is Hartmann, the chief of police, try to force the voters' hand through a tragic judicial farce - the execution of a death row inmate, Williams. A group of journalists, headliners of the scandal and sensation columns in their newspapers, wait, in the police press office, for the moment of the execution, to describe it in great detail. But the mayor's plans are thwarted when Williams escapes, getting his hands on the police chief's gun. In this new situation, journalists are ready to do anything to stir up sensationalism: they buy guards, blackmail the police chief, lie.

In the midst of the events, Hildy Johnson, a talented young journalist, stops by their headquarters to say goodbye to his colleagues: newly engaged, he is about to leave for New York. But the sensation aroused by Williams' escape makes him forget about his fiancée, seeing in this series of events the source of a great professional success. The mad chase for the bombshell news, in which he is driven by weakness, but also by pride, resembles a game of life and death.

A piece full of rhythm and suspense, "Bomba zilei" is a meditation on the relationship between power and the individual, truthfully and critically capturing the lack of scruples and libertine morals of those who can make and unmake human destinies.

Distribution:

Endicott:  Marcel Popa
Wilson:  Mircea Constantinescu
McCue:  Eugen Harizomenov
Murphy:   Ion Abrudan
Kruger:  Radu Neag
Schwartz:  Radu Vaida
Bensinger:  Laurian Jivan
Bismarck:  Grig Schiţcu
Diamond Lovey:  Jean Sandulescu
Hildy Johnson:  Nicolae Barosan
Mollie Malloy:  Mariana Neagu
Hartmann:  Nicholas Thomas
Peggy Grant:  Ileana Iurciuc
Mrs. Grant:  Alla Tautu, Anca Miere Chirilă
The mayor:  Marcel Segărceanu
Pincus:  John Martin
Williams:  Eugen Tugulea
Walter Burns:  Ion Tomorrow

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

Comedy in three acts by Mihail Sebastian

Artistic director: Szombati Gille Otto
Assistant artistic director: Eugen Harizomenov
Scenography: Maria Haţeganu
Premiere date: October 16, 1975

„"The Nameless Star" evokes a generic-anonymous provincial town located on the Bucharest-Sinaia route, at whose station the fast trains do not stop. An unprecedented act in the city's existence, the luxurious express train from Bucharest stops one evening to disembark a passenger without a ticket and without papers, a disturbing unknown. At the station to pick up his astronomy book (his absolute passion), high school teacher Marin Miroiu, enchanted by the appearance of a gorgeous lady from the good and distant world, offers her his modest home as shelter for a night. This will be a magical night, in which the heavens open and in which Mona and Marin Miroiu, each have, through the other, the revelation of another world, a revelation from which love is born. But the dream ends at dawn, in the form of the banal everyday life and the unattractive perspectives offered by life in the small town. Although transfigured by her encounter with Miroiu, Mona will still leave with her admirer, Grig, who arrived by car to retrieve her. But the encounter was not in vain: although stars never return from their path, their flame continues to shine from above.

Distribution:

Station manager:  Nicholas Thomas
A peasant:  John Martin
The teacher:  Radu Vaida
Ichim:  Ion Abrudan
Miss Cuckoo:  Simona Constantinescu, Olimpia Tomorrow
Elevate:  Ileana Iurciuc
Pastor:  Grig Schiţcu
The conductor:  Marcel Segărceanu
Unknown:  Mariana Neagu
Udrea:  Mircea Constantinescu
Greg:  Nicolae Barosan

Technical director: Elena Varlam
Prompter: Rodica Branea
Lighting: Vasile Blejan
Sound: Dorel Olea

by Mircea Bradu
Absolute premiere

Artistic director: Zoe Anghel Stanca
Scenography: Eliza Popescu
Musical illustration: Gabriel Popovici
Premiere date: October 2, 1975

„"White Night" continues the tradition of historical plays on the stage of the Oradea theater, its action being set in the distant era of the voivode Menumorut. A meditation on historical themes imbued with lyricism and solemnity, the play is a "synthesis between historical information, Romanian political thought throughout the centuries and the mythical expression given by the people to fundamental existential states" (Dumitru Chirilă). The characters are archetypes of popular mythology who, faced with extreme situations, preserve authentic and defining attitudes and expressions of Romanian spirituality.

The wise Menumorut, a leader with a well-defined political and moral philosophy, is threatened by invaders in search of wealth and power. The voivode, however, wants to avoid war at all costs and opposes reason to force. He is even ready to offer his daughter in marriage to the son of the leader from the opposite camp. The dialogue between Menumorut and Usubuu, the leader of the conquering army, is a fierce confrontation of characters, mentalities and destinies. In the end, diplomacy and patience defeat force and arrogance, so that the undefeated Usubuu surrenders without a fight at the gates of the Biharia fortress.

The play "White Night" was televised in January 1978, as part of the show "Theater Evening" and was included in the agenda of the "Historical Theater Festival" in Craiova, the same year.

Distribution:

Menumorut:  Ion Tomorrow
Usubuu:  Eugen Tugulea
Lady:  Alla Tautu
Lady:  Ileana Iurciuc
Balea:  Ion Abrudan
The judge:  Eugen Harizomenov
Room:  Nicolae Barosan
Bora:  Marcel Popa
The soil of the North:  Jean Sandulescu
There you go:  Radu Neag
Chronicler I:  Laurian Jivan
Chronicler II:  Dorel Urlățeanu
Nurse:  Anca Miere Chirilă
Son of Usubuu:  Marius Nichita, Dimitrios Stefanidis

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

Café-theater show
Documentary piece in eight paintings, reading performance by Stelian Vasilescu

Artistic direction and scenography: Ion Mâinea
Premiere date: March 12, 1975

Based on a rich bibliographical material, the play "Eminescu in Vienna" reconstructs the period of youth spent by the Romanian poet in Vienna between 1869 and 1872, for studies of philosophy and law. The series of biographical scenes outlines years of great material deprivation, but enriched by the poet's contact with the philosophical ideas and European culture of the era. The youthful enthusiasms full of poetry and patriotism are reproduced, as well as Eminescu's memorable meetings with Ioan Slavici, Alexandru Ioan Cuza, Iacob Negruzzi, Veronica Micle.

The show was dedicated to the 125th anniversary of the birth of Mihai Eminescu.

Interpreters:

Michael Eminescu:  Nicolae Barosan
Ioniţă Bumbac:  Ion Abrudan
Chibici Revneanu:  Theo Cojocaru
Ioan Behnit:  John Martin
The Activist, Literary Critic I:  Grig Schiţcu
The Baron, Literary Critic II:  Laurian Jivan
Ion Slavici:  Eugen Harizomenov
Alexandru Ioan Cuza:  Marcel Popa
Frederica Bognar:  Simona Constantinescu
Jacob Negruzzi:  Marcel Segărceanu
Linden:  Ion Tomorrow
Veronica Micle:  Eugenia Papaiani
They also collaborated:  Liviu Rozorea, Elisabeta Jar, Eugen Ţugulea, Nicolae Toma, Ileana Iurciuc, Mircea Constantinescu, Radu Vaida

Technical director: Elena Varlam
Sound: Dorel Olea

Eminescu Show
Screenplay: Elisabeta Pop

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Premiere date: January 15, 1975

Interpreters:

Eugen Tugulea
Theo Cojocaru
Alla Tautu
Anca Miere Chirilă
Ion Tomorrow
Simona Constantinescu
Doina Urlățeanu
Eugenia Papaiani
Laurian Jivan

by William Shakespeare
Translation: Ion Vinea

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Musical illustration: Cornel Pop
Premiere date: May 24, 1975

Shakespeare's famous "The Winter's Tale" is a tragicomedy set in an imaginary world of all possibilities, in which Bohemia has a seashore, and the ancient oracle of Delphi coexists with Renaissance sculptors. The first three acts, dominated by tragedy and turmoil of conscience, depict the events at the court of Leontes, King of Sicily, occasioned by the visit of his good childhood friend, Polixenes, King of Bohemia. After nine months spent in complete harmony, Polixenes prepares to leave. He remains adamant to his friend's pleas to extend his stay in Sicily, but he gives in as soon as his wife urges him to stay with them. Leontes falls prey to a baseless jealousy and nothing can shake him from his blindness: he orders the poisoning of Polixenes, who escapes with the help of the courtier Camillo, he sends Hermione to prison, he refuses to believe the words of the Delphic oracle, which refutes his suspicions. Moreover, he plots the loss of the little girl born to Hermione in prison, believing that she is the fruit of his wife's infidelity. At the trial, Hermione and his son, Mamilius, die of a wicked heart.

From this point, during the last two acts, the tone of the play becomes bright, miracles, coincidences or simply the kindness of people intervene, through which all the king's mistakes are remedied. The noble girl, named Perdita, is abandoned on the coast of Bohemia, where she is found and adopted by a shepherd. Sixteen years later, a beautiful love story begins between Perdita and Florizel, the son of Polixenes. Discovering the love of the young people, King Polixenes condemns their relationship, not knowing Perdita's noble origins. With the help of the same humane Camillo, the two take refuge in Sicily, where Leontes had spent all his days mourning his family destroyed by his own mistakes. A series of revelations restores the harmony of the beginning: the gentle Perdita discovers her royal ancestry, which allows her to marry Florizel, and a statue depicting Hermione turns out to be the queen herself. Polixenes forgives Leontes for his unjustified jealousy, so that friendship, virtue, kindness and patience find their happy crowning.

Distribution:

Leontes:  Ion Tomorrow
Mamilius:  Theo Cojocaru
Camel:  Nicholas Thomas
Antigone:  Jean Sandulescu
Cleomenes:  Marcel Segărceanu
Polyxene:  Marcel Popa
Florizel:  Laurian Jivan
Archidamus:  Ion Abrudan
An old shepherd:  Dorel Urlățeanu
The clown:  John Martin
Autolycus:  Nicolae Barosan
Hermione:  Eugenia Papaiani
Lost:  Mariana Vasile
Pauline:  Simona Constantinescu
Emilia:  Doina Urlățeanu
Pug:  Mia Popescu
Dorcas:  Florence Manea
The officer:  Grig Schiţcu
A lady from the court:  Anca Miere Chirilă
Time:  Eugen Harizomenov

Technical director: Dalma Simionescu
Prompter: Rodica Branea
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in three acts by Al. Kiriţescu

Artistic direction: Sergiu Savin
Decor: Tatiana Manolescu Uleu
Costumes: Eliza Popescu
Premiere date: March 15, 1975

Affiliated with political theater, the comedy "The Dictator" was inspired by the realities of the Antonescu regime, the main character embodying the general attributes of an absolutist, harsh, demagogue and skillful leader, directing a socio-political system inappropriate to the historical moment. Going through corruption and baseness, the hero, vaguely called "Prime Minister", even reaches murder, but hides under the mask of humanism, sympathy, understanding of one's neighbor. Despite the negative ideological charge, the end of the play transmits an optimistic message, regarding the imminent disappearance of dictatorship and oppression, a line from the main character foreshadowing the tragic end: "It's like I'm the one sentenced to death waiting to be shot!"„

Distribution:

The Prime Minister:  Eugen Harizomenov
Stan Boldur:  Nicolae Barosan
Prince von Wirth Langeburg:  Jean Sandulescu
Coty Adam:   Marcel Popa
Inspector Profir:  Grig Schiţcu
Princess Soltana Ţuţubey:  Simona Constantinescu
Lilac:  Alla Tautu 
Matt:  Eugenia Papaiani
Gina Castris:  Olympia Tomorrow
Lady in mourning:  Doina Urlățeanu

Technical director: Elena Varlam
Prompter: Gigi Groşanu
Lighting: Vasile Blejan
Sound: Dorel Olea

Popular dramatic reportage by Paul Everac

Artistic director: Otto Szombati Gille
Assistant director: Ion Abrudan
Scenography: Maria Hateganu
Premiere date: January 16, 1975

The play "Life is like a wagon" is a collection of skits with relative autonomy, each one bringing into discussion a particular case (dogmatism, bovarism, fraud, servility and others). Starting from these situations, Paul Everac broadens the scope of the problems he addresses, campaigning with irony and satirical verve for the recognition of the supreme value of work as an activity indispensable to human fulfillment.

The hero of the play, the worker Todor Frențiu from the Arad Carriage Factory, traveling by train in a car to which he contributed, goes through all sorts of events, most of them unpleasant, meeting a series of people of questionable quality. Like a modern Păcală, Frențiu looks at all the unpleasantness with a superior smile, makes fun of trouble and has the confidence that in the end, things will end well for him; which, by the way, does happen.

Distribution:

Todor Frențiu:  Ion Abrudan
Catita Frențiu:  Eugenia Papaiani
Teresa Schoner:  Anca Miere Chirilă
Chrysophenia Oghina:  Mia Popescu
Iulia Zâmbresteanu:  Mariana Vasile
Ludmila Banciu:  Alla Tautu
Stela Smantana:  Anna Popa, Katie GABOR
Euphrosyne Daru:  Doina Urlățeanu
Waitress:  Florence Manea
Pavel Otlăcan:  Nicholas Thomas
Simion Birau:  Octavian Uleu, Grig Schiţcu
Ilie Parlea:  Eugen Tugulea
The companion:  John Martin
Comrade from the center:  Ion Tomorrow
The German:  Laurian Jivan
Lawyer Sadeanu:  Marcel Popa
George Daru:  Marcel Segărceanu
The Dark One: Theo Cojocaru, Nicolae Barosan

Technical director: Dalma Simionescu
Prompter: Rodica Branea
Lighting: Vasile Blejan
Musical illustration and sound design: Dorel Olea

Enchanting comedy in five acts and nine scenes by Vladimir Mayakovsky
Translation: Tamara Gane

Artistic direction: Alexandru Colpacci
Scenography: Paul Salzberger
Musical illustration: Cornel Pop
Premiere date: November 17, 1974

According to the author's confessions, the material for the play comes from the mass of small facts encountered throughout his journalistic and publicistic activity. Discussing a series of issues with a thesis, he synthesizes the theme of the play as "the unmasking of contemporary philistinism". A simple reading of the play reveals a plan of pro-communist meanings, appropriate to the era in which it was performed. The two parts of the play take place 50 years apart, and the playwright's irony and satire, although in different registers, are preserved at the same intensity. Prisypkin, projected from the third decade of the 20th century into a world that he no longer recognizes half a century later, cannot understand the world suffocated by false principles and candor. His inability to communicate with this new world results in a deep and human despair. On a second reading, however, the play, apparently a plea for communism, turns out to be a demystification of it: the bedbug becomes the symbol of the "new type of man", ready to forget his origin, to submit to brainwashing, but also the symbol of the huge Soviet Empire, which sucked the vitality of its inhabitants for almost a century.

Distribution:

Prisipkin:  Eugen Harizomenov
Zoya Beriozkina:  Eugenia Papaiani
Elzevira Davidovna:  Mia Popescu, Ileana Iurciuc 
Rosalia Pavlovna:  Olympia Tomorrow
David Osipovich:  Grig Schiţcu, Ion Mâinea
Oleg Baian:  Ion Abrudan
The barefoot boy:  Nicolae Barosan
The Boy with the Book and the Inventor:  Laurian Jivan
The locksmith:  John Martin
Girl:  Mariana Vasile
Bridesmaids:  Doina Urlăţeanu, Anca Miere Chirilă
Knight of Honor:  Marcel Segărceanu
The guest:  Octavian Uleu, Grig Schiţcu
Firefighter I:  Nicolae Barosan
Firefighter II:  Laurian Jivan
Firefighter III:  Theo Cojocaru, Mircea Constantinescu
The speaker:  Marcel Segărceanu
The master of ceremonies:  Eugen Tugulea
Zoo director:  Nicholas Thomas 
The teacher:  Dorel Urlățeanu emeritus artist
The President:  Jean Sandulescu 
Shopkeepers, Newspaper Sellers and Nurses: Alla Tautu, Anca Miere Chirilă, Doina Urlăţeanu, Ana Popa, Mariana Neagu 
Flasher:  Florence Manea

Technical director: Elena Varlam
Prompter: Gigi Groşanu
Lighting: Vasile Blejan
Sound: Dorel Olea

by Friedrich Dürrenmatt, based on "Dance of Death" by August Strindberg
Translation: Nicolae Reiter

Artistic director: Otto Szombati Gille
Scenography: Eliza Popescu
Musical and piano illustration: Gheorghe Hausmann
Premiere date: September 28, 1974

For the writing of the play "Play Strindberg", Friedrich Dürrenmatt confesses that he took the plot and the fundamental theatrical idea from the play "Dance of Death" by August Strindberg. From the title, therefore, an intertextual relationship is established with the Swedish playwright's play, which depicts the stormy clash between two beings united by marriage, but who, through violence and mutual hatred, end up destroying each other. Starting from this, Dürrenmatt creates an original play: Strindberg's melodrama is transformed into a witty and humorous black comedy, a comic image of a long and unhappy marriage between an officer and an actress without talent.

Distribution:

Alice:  Simona Constantinescu
Edgar:  Ion Tomorrow
Kurt:  Marcel Popa

Technical director: Elena Varlam
Prompter: Rodica Branea
Lighting: Vasile Blejan
Sound: Dorel Olea

A play in two parts and five paintings by Petru Vintilă

Artistic direction: Sergiu Savin
Scenography: Maria Haţeganu
Premiere date: August 17, 1974

Dedicated to the 30th anniversary of the events of August 23, 1944 and the 11th Congress of the Romanian Communist Party, the show "Who Kills Love?" "it aims to evoke the events and atmosphere of the insurrection of August 1944. The play narrates events that took place in a small town in Banat, trying to highlight the state of mind of the people in those days of historical turmoil, the broad participation of the most diverse social strata in the preparation and execution of the insurrectionary act. Major Felix Filimon's House reproduces on a small scale the general situation in the country: a deep dissatisfaction with the existing situation, the presentiment of an imminent change, for the achievement of which some consciously enlisted in the fight (Aurel), others joined as soon as they were given the opportunity (Felix, Zeno, Zenovia), while others (Caius) were content with ridiculous and barren memoirs to the fascist authorities, written under the supervision of security. The presence of the communist fighters Octavian and Coriolanus will polarize the will and actions of all those eager to fight against fascism, all those who wanted a different destiny for the country." (Dumitru Chirilă in the "Familia" Magazine).

Distribution:

Felix:  Marcel Segărceanu
Adela:  Alla Tautu
Caius:  Nicholas Thomas
Zeno:  Theo Cojocaru
Aurelius:  Ion Abrudan
Olguta:  Mariana Vasile
Coriolanus:  John Martin 
Octavian:  Eugen Harizomenov
Zenobia:  Eugenia Papaiani
Vartiadis:  Ion Tomorrow

Technical director: Dalma Simionescu
Prompter: Rodica Branea
Lighting: Vasile Blejan
Musical illustration: Cornel Pop
Sound: Dorel Olea

George Bacovia Recital

Interpretation and artistic direction: Octavian Uleu
Scenography: Tatiana Manolescu Uleu
Premiere date: March 7, 1974

Aware of the originality and modernity of Bacovian poetry, of its value as an essential landmark in Romanian culture, actor Octavian Uleu confesses in the program of the show the vivid emotion felt at the reading, always repeated over a quarter of a century, of the poet's work. "A follower of the sobriety that emanates from the creation of the author of "Plumb", forcing us to a certain interpretation based on gravity and recollection", the actor gave voice to the poetry without the adjunct of other art, except for a very discreet sound background. The recital included 31 poems from the volumes "Plumb", "Scântei galbene", "Cu voi" and "Comedies in the background".

Lighting: Vasile Blejan
Sound: Dorel Olea

Café-theater show
Octavian Goga Recital

Interpretation and artistic direction: Anca Miere Chirilă
Scenography: Eliza Popescu
Music: Mihai Vasilescu
Premiere date: September 20, 1973

The tradition of the Oradea café-théâtre continued in the 1973-1974 season with the recital given by Anca Miere-Chirilă, "Sick of Many Longings", composed as a collage of texts from Octavian Goga's love and social poetry.

Humorous musical show
Sketches by Valentin Silvestru, A.Kuklianski, A.Hait, Elisabeta Pop, Eugen Ţugulea, Dumitru Chirilă, Viorel Horj, M.Maximilian, Grig Schiţcu

Artistic director: Dorel Urlăţeanu emeritus artist
Scenography: Eliza Popescu
Choreography: Augustin Molnár
Music and musical direction: Adi Braun
Premiere date: June 28, 1974

Subtitled "Attempt for a revue show... with everything", "Hop and we... in a revue" ("Because the world doesn't really come to prose...") it grouped musical and choreographic moments, texts and humorous couplets such as: "Under the same roof", "Radiography", "Agitated lunch", "At a pint", "The grateful son", "Oradea, our dear city", "How Grigore made a pretzel", "The interview", "Snobbies at the theater".

Interpreters:

Nicholas Thomas
Grig Schiţcu
Ion Abrudan
Nicolae Barosan
Doina Urlățeanu
John Martin
Ion Tomorrow
Anca Miere Chirilă
Theo Cojocaru
Mia Popescu
Marcel Popa
Francisc Belényi
Kati Gabor
Ladislau Tolnai Tank
Eugenia Papaiani
Mariana Vasile
Augustin Molnár (dancer)

Orchestra: Anton Mureşan, Gabriel Popovici, Zoltán Mező, Puiu Dobran, Anton Schisler, Augustin Vertan, Iosif Balogh