Play in two parts by Jean Giraudoux
Translation: Dinu Albulescu

Artistic director: Otto Szombati Gille
Scenography: Margit Kocsis Nagy
Premiere date: May 4, 1974

The play "The Trojan War Will Not Happen" is first and foremost an important debate of ideas, its major tone being a plea against war. Using ancient fiction and illusion, the play aims to demystify war, destroy its legend, and strip it of the appearance of glory and heroism. The author demonstrates the precariousness of the arguments on which war is always based, entering directly into the heart of the discussions and anxieties of Europe at that time. "Rarely has a page of more human skepticism and more comprehensive sadness been written against war." (Mihail Sebastian, 1936)

The city of Troy is threatened by war. The Greek queen, Helen, has been abducted by the Trojan Paris and the Greeks will attack Troy if their queen is not released. Even within Troy, two camps are confronting each other. The war partisans, led by the official poet Demokos, incite national passions and conflict. On the contrary, the pacifist camp seeks to avoid war at all costs. Their most steadfast representative, Hector, the eldest son of King Priam, does not back down from anything to ensure peace and manages to get the Trojans to close the "gates of war". The arrival of Greek emissaries complicates matters and, although the meeting between Hector and Odysseus ends with the premises of peace, the interests of the warring camp prevail and the Trojan War cannot be avoided.

Distribution:

Andromache:  Simona Constantinescu
Cassandra:  Mariana Vasile
Hector:  Eugen Harizomenov
Paris:  Nicolae Barosan
Priam:  Dorel Urlățeanu emeritus artist
Hecuba:  Alla Tautu
Demokos:  Nicholas Thomas
The surveyor:  Ion Abrudan
Helen:  Eugenia Papaiani
Peace:   Kati Gabor
Young Troilus:  Theo Cojocaru
Abneos:  Octavian Uleu
Busiris:  Marcel Segărceanu
Oax:  Ion Martin, Marcel Popa
Ulysses:  Eugen Tugulea
The gabinete:  Ion Tomorrow
Olpides:  Grig Schiţcu
Iris:  Mia Popescu, Doina Ioja

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

Play in two acts by Vincenzo di Mattia
Translation: Angela Ioan

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Musical illustration: Cornel Pop
Premiere date: March 30, 1974

According to the playwright himself, the "sixth power", after journalism and cinema, is science. The idea from which the play starts, and which has enjoyed wide circulation in Western literature, is that, sometimes, scientific means are used for harmful purposes, other than those for which they were created. The dramatic core of the play lies in the conflict between moral responsibility and the temptation to acquire as much power as possible over one's fellow human beings.

A successful man, accustomed to seeing his most ambitious projects realized, finds himself helpless and in the painful situation of seeing his only son sentenced to death for premeditated murder. He cannot get used to the idea that his power has limits. Thus is born his diabolical plan: he resorts to science with which he creates a culprit, inoculating him, like a virus, with the idea of guilt.

The meaningful ending brings the play closer to the theater of ideas, transforming it into a meditation on the price of independence and human freedom.

Distribution:

Furbringer:  Ion Tomorrow
Vogler:  Jean Sandulescu
Larsen:  Eugen Tugulea
David:  Marcel Popa
Johan Ephrem:  John Martin
Christina:  Simona Constantinescu
Mattia Rubes:  Grig Schiţcu
Nice:  Eugen Harizomenov
Simone:  Marcel Segărceanu

Technical director: Elena Varlam
Prompter: Gigi Groşanu

Drama in three acts by Vasile Rebreanu and Mircea Zaciu

Artistic direction: Sergiu Savin
Scenography: Maria Haţeganu
Music: Béla Ráduly
Premiere date: February 9, 1974

„"The Loneliness of the Target Shooter" is a play about youth, about responsibility, about love and friendship, about parents, about honor. Its heroes, students on vacation in an abandoned mill at the foot of the mountain, begin a game of truth.

Their meeting in the forest triggers unexpected events: the young people reveal themselves, answer the questions that torment them, search for meanings, discover the truth. When the masks fall, the young people find out who they are, beyond the names they bear, beyond the courses and seminars, beyond the UTC meetings, beyond love and hate, ambitions, troubles and fleeting joys.

„"The loneliness of the marksman" is the loneliness of the individual when faced with his own actions and thoughts. At the moment of confrontation with himself and those around him, the one who sacrifices everything, without scruples, to reach his target, can only be a loner.

Distribution:

It:  Mariana Vasile
Philip:  Ion Abrudan
Thomas:  Theo Cojocaru
Costel:  Nicolae Barosan
Eugene:  Eugen Harizomenov
The old man:  Dorel Urlățeanu emeritus artist
Gregory:  Marcel Segărceanu
Matei Salavăstru:  John Martin

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

Comedy by Carlo Goldoni
Translation: Florian Potra

Artistic direction:  STEFAN Farkas and Eugen Harizomenov
Scenography: Eliza Popescu
Premiere date: January 6, 1974

Carlo Goldoni's theatre, of an incomparable richness, mirrors all social environments, in the most diverse settings, in a vision full of naturalness, spontaneity and freshness. "The Quarrels of Chioggia" brings to the stage the world of the many in a fishing village on the Adriatic coast. As the title suggests, the play is essentially conflictual, the quarrel being started by the fisherman Toffolo, guilty of flirting with young women. Although she is engaged to Titta-Nane, Lucietta willingly accepts the slice of pumpkin that Toffolo offers her. From here a conflict is born that takes on unsuspected proportions, ending up involving all the husbands, brothers and friends in the village. After numerous comic and energetic disputes and even an intervention of the judiciary, harmony is restored and in a festive atmosphere no less than three marriages are announced: Lucietta with Titta-Nane, Orsetta with Beppo and Checa with Toffolo. Remarkable in this play is the rendering of the ambience of the Italian street, with the customs, gaiety, tricks and the own language of the people who populate it. Goethe notes in relation to this play: „The loud cries of the people who rejoice or take counsel, their quarrels, their abruptness, their bonhomie, their gaiety, their free manners, everything is rendered in a masterly way… The author deserves the highest praise… for this picture of profound realism.”

Distribution:

Master Toni:  Octavian Uleu
Aunt Pasqua:  Doina Ioja
Lucietta:  Mariana Vasile
Titta-Nane:  Marcel Popa
Beppe:  Ion Abrudan
Master Fortunato:  Nicholas Thomas
Aunt Libera:   Olympia Tomorrow
Orsetta:  Ana Popa, Mia Popescu
Checca:  Katie GABOR
Master Vicenzo:  Marcel Segărceanu
Toffolo:  Nicolae Barosan
Isidore:  Ion Tomorrow
The doorman:  Grig Schiţcu
Canocchia:  Mia Popescu, Ana Popa

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

Play in three acts by VIPopa

Artistic director: Otto Szombati Gille
Scenography: Tatiana Manolescu Uleu
Premiere date: October 13, 1973

Situated at the confluence of comedy and drama, "The Geranium in the Window" depicts two mirrored love stories, set in the seemingly immobile setting of the Moldavian province. It is a space full of charm and poetry, a world that lives in historical immobility, with identical destinies from one generation to the next. In their youth, the priest Ilie and the teacher Grigore both fell in love with Sofica. Ilie had offered the girl a vase of geraniums as a sign of his love, but Sofica had chosen his rival. Years later, the story seems to repeat itself: Grigore's daughter is liked by Radu and Ionică. The latter, shy, does not dare to confess his feelings, offering the girl a geranium in return. From the shadows, Father Ilie protects the barely budding love between Olguţa and Radu, helping them leave in secret, much to the chagrin of their parents. Finally, Grigore melancholy enunciates the philosophy of the play: "Because nothing changes in the world and everything returns and stays the same, as in an endless circle..."«

Distribution:

Gregory Conu:  Nicholas Thomas
Mrs. Sofica:  Alla Tautu
Olguta:  Ana Popa
Georgic:  Mariana Vasile
Father Ilie Udriş:  Dorel Urlățeanu emeritus artist
Radu Cocias:  Nicolae Barosan
Ionic:  John Martin
Constantin Carnu:  Grig Schiţcu

Technical director: Dalma Simionescu
Prompter: Neli Bolocan
Lighting: Vasile Blejan
Sound: Dorel Olea

Tragic comedy in two parts by Paul Everac
Absolute premiere

Artistic director: Nicoleta Toia
Assistant director: Eugen Harizomenov
Decor: architect Liviu Răuteanu
Costumes: Maria Hateganu
Premiere date: September 29, 1973

Architect Jinga, the central character of the play "The Meter Reader", is a spoiled brat: his great professional achievements were doubled by the selfless love of a beautiful student, the well-being of the house was completed by the understanding and peace provided by a docile wife. How many of these goods were won by honest means? To what extent was the struggle with life, from which he always emerged victorious, fought with honest means? What price will he have to pay for everything he has? These are the questions that the Meter Reader, the symbolic character conceived by the author as a voice of conscience, asks Jinga. The real duration of what happens on stage is that of a process of consciousness. The reader forces Jinga to make efforts of memory, thanks to which past events are put in a new light, not exactly favorable to their hero. Beyond appearances, Jinga is forced to admit that many of his successes are due to an ability to adapt to the "demands of the era." Forced to see things differently than he likes, Jinga understands that Clara's love could be fleeting, that his wife's docility does not exclude possible infidelity, that the children's independence could have unpleasant consequences, that the highway he designed could be considered over time as "a great architectural error.".

The meter reader warns him from the beginning that he will have to pay. The price Jinga pays is doubt, turmoil, the collapse of self-confidence, understanding that the comfortable pact between conscience and compromise can only be temporary.

Distribution:

Arch. Gheorghe Jinga:  Jean Sandulescu
Amelia Jinga:  Simona Constantinescu
Octav Jinga:  Adrian Pintea (student, debut)
Neli Jinga:  Kati Gabor
Jinga Sevasta:  Anca Miere Chirilă
Clara Mogos:  Mia Popescu
Arch. Cosmescu:  Eugen Tugulea
Serban Halunga:  Eugen Harizomenov
Dr. Negrin:  Frigid Palóczy, Marcel Popa 
Meter reader:  Ion Abrudan

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

125 years since the Revolution of 1848
Screenplay by Elisabeta Pop and Viorel Horj

Artistic director: Dorel Urlăţeanu emeritus artist
Scenography: Eliza Popescu
Premiere date: June 14, 1973

„". . . my soul still glorifies you, divine freedom, and although the bloodthirsty people have covered your face with sweet black blood, I believe that the happy day will come, the day of victory, when all of humanity will rise up to tear this veil and your enemies will turn to stone at the sight of your face of light; then there will be no more slave man, no slave nation, no man mastering another, but the reign of Justice and Brotherhood! These words, which I once gave as the motto of my nation, will rule the world; then the expectation, the dream of my life will be fulfilled; then all Romanians will be one and free and brothers!

Alas, I will not be lucky enough to see this day, but I too have worked and suffered for justice, and my last word will be yet another hymn to you, my dear country!.

(Nicolae Bălcescu, taken from the show's program booklet)

Interpret:

Ion Abrudan
Nicolae Barosan
Simona Constantinescu
Eugen Harizomenov
Grig Dristaru
Doina Ioja
Anca Miere Chirilă
Ion Tomorrow
Olympia Tomorrow
John Martin
Mihai Paunescu
Alla Tautu
Nicholas Thomas
Eugen Tugulea
George Pintilescu
Mia Popescu
Doina Urlățeanu
Theo Cojocaru
Varga Vilmos
Tibor Varga
Carmen Ghiman

Café-theater show
Poetry recital at the rose exhibition by actor and rose grower Marcel Segărceanu

Artistic director: Marcel Segărceanu
Scenographic framework: Maria Haţeganu
Premiere date: June 4, 1973

In the 1972-1973 season, the café-théâtre series included the show "If Only There Were Not a Flower", a collage of the following poetic texts with and about flowers: "Flowers" by D. Anghel, "Spring Rhapsody" by G. Topîrceanu, "Spring Notes" by G. Bacovia, "Hidden Pains" by D. Anghel, "Prinos de flori" by Al. Andrițoiu, "Școala florilor" by Rabindranath Tagore, "The Rose and the Executioner" by Radu Stanca, "The Death of the Narcissus" by D. Anghel, "A Rose is Dying" by O. Goga, "Bunavestire pentru florea arului" by L. Blaga, "The Butterfly and the Philomelus" by Saadi, "Spring" by L. Blaga, as well as fragments from "The Little Prince" by Saint-Exupéry.

actors
Simona Constantinescu, Olimpia Mainea, Marcel Segărceanu
they recited verses by Saadi, Rabindranath Tagore, D.Anghel, G.Topîrceanu, G.Bacovia, V.Eftimiu, L.Blaga, Radu Stanca.

Musical illustration: fragments of compositions by Brahms, Berlioz, Chopin, Strauss

Sound: Dorel Olea

Comedy by Virgil Stoenescu

Artistic director: Otto Szombati Gille
Scenography: Maria Haţeganu
Premiere date: June 23, 1973

„"An Impossible Girl" debates the fate of the village intelligentsia during the communist period, outlining a simplistic and clearly moralizing conflict through which it campaigns for the active involvement of young people in their workplaces. The young college graduate Mirela returns to her native village with her friend, Otilia, dreaming of a life as a teacher in the most classic sense of this apostolate. However, her enthusiasm and ambitions clash with the rigidity of the school principal, a routine, tough and impostor, incapable of accepting any change in the course of things. Mirela unleashes energies, distributes justice, heals emotional wounds; she is joined by an archaeologist who sympathizes with her, the Mayor, the commune doctor, the commune secretary of the youth organization, the school maid, the principal's wife. Although not without flavor, the predictable confrontation ends when the village sets off on a different path, through the construction of a new school and a museum, the discovery of an archaeological treasure, and the birth of new harmonious families.

Distribution:

The director:  Jean Sandulescu
The mayor:  Nicholas Thomas
Mirela:  Mariana Vasile
Otilia:  Mia Popescu
Valerius:  George Pintilescu, Nicolae Barosan
Christian:  Grig Dristaru
Irina:  Alla Tautu
Bogdan:  Eugen Harizomenov
Batrâneanu:  Dorel Urlățeanu emeritus artist
Velcescu:  Marcel Segărceanu, Eugen Tugulea
Star:  John Martin
Victorita:  Ana Popa

Technical director: Dalma Simionescu
Prompter: Nely Bolocan
Lighting: Vasile Blejan
Sound: Dumitru Olea

Comedy in two parts by DRPopescu

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Premiere date: May 5, 1973

„"These Sad Angels" is a play in which the real intertwines with the symbol, the bearers of aspirations towards purity being the young, who embody perpetual renewal, moral regeneration. Ion and Silvia, the "sad angels", are two characters of adolescent candor who come together and discover each other, as they discover those with whom they are in conflict. Their moral category is put in antithesis with Marcu's cowardice or Cristescu's pettiness. The two do not lead a pure life, they are not exempt from wanderings, they have known disillusionment and imposture. However, they live with the conviction that fulfillments have their own time and they covet an earthly paradise, a happiness that, although some deny them, they never stop looking for. Ion and Silvia become voices of hope in an intense lyrical play, which advocates for altruism, trust, truth and harmony.

Distribution:

Silvia:  Dorina Paunescu
Ion:  Eugen Harizomenov
Joanna:  Mia Popescu
Ion's father:  John Martin
Mark:  Ion Abrudan
Christescu:  Marcel Segărceanu
Peter:  Nicolae Barosan

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

Musical comedy by Ion Băieşu

Artistic director: Magda Bordeianu
Scenography: Maria Haţeganu
Music and musical direction: Adi Braun
Premiere date: March 17, 1973

„"The Underpad" is a comedy of manners whose action is organized around a block of flats, with the mentalities and customs of the residents of all kinds. The play is a mosaic of jokes, puns, soap operas, moments that could have even been constituted as independent skits, transfigurations of situations, relationships and human characters easily found in the immediate vicinity. The desire for success, the pursuit of selfish well-being, pettiness, false culture are satirized with verve and humor. The musical dimension of the play is added to the savory humor, each couplet being intended to complete and enrich the character or situation to which it is associated. Although no corrective solutions or moralizing lessons are given, contact with the depicted world is apt to give rise to some question marks in the consciousness of the audience who is presented with the more or less pleasant comedy of daily life.

Distribution:

Pamphilus:  Octavian Uleu
Philofteia:  Anca Miere Chirilă
The lawyer:  Ion Tomorrow
The photographer:  Ion Abrudan
George:  Theo Cojocaru, Eugen Harizomenov
Anna:  Carmen Ghiman, Ana Popa
Gigel:  Grig Dristaru
The little girl:  Mia Popescu
Guy:  Mihai Paunescu
Gica:  Mariana Vasile
The Italian:  Tiberius Varga
Pope:  Grig Schiţcu
Star:  Ana Popa

Technical director: Dalma Simionescu
Prompter: Neli Bolocan

by Herman Wouk
Translation: Anca Tanasescu

Directed by: Otto Szombati Gille
Scenography: Eliza Popescu
Premiere date: January 27, 1973

The play "The Dog's Revolt" is a dramatization by Herman Wouk himself of one of the most intense chapters of his novel of the same name, inspired by events from World War II. The show depicts with rare intensity a trial at the US Navy Court Martial, using the resources appropriate to such a circumstance: interrogations, pleas, testimonies. The imagined story centers on a second officer who, in conditions of a raging storm, takes over the right of command from the ship's captain, accusing him of irresponsible, almost insane behavior. The trial reconstructs the atmosphere and situation in which the subordinate took the initiative in front of the superior, a pretext to investigate human psychology in extreme life situations. The sentence itself, the resolution of the case remains on the second plan in importance, the foreground being occupied by the characters' consciences, their motivations, the truth that each one has.

The trial debates the fates of the defendants and of humanity alike. We could imagine that instead of the ship Caine, the world itself is present, and that a madman whose behavior is in flagrant contradiction with reality holds the power of decision-making. From this point of view, the play discusses, in fact, the case of all humanity, raising questions about man's responsibility towards his fellow men, about the power to control or not the course of life.

Distribution:

The stenographer:  Tiberius Varga
Barney Greenwald:  Eugen Tugulea
Stephan Maryk:  George Pintilescu
John Challe:  Ion Tomorrow
Blakely:  Nicholas Thomas
Philip Francis Queeq:  Jean Sandulescu
Thomas Keefer:  Ion Abrudan
Junius Urban:  John Martin
Willis Seward Keith:  Nicolae Barosan
Randolph Southard:  Marcel Segărceanu
Dr. Forrest Lunden:  Dorel Urlățeanu emeritus artist
Dr. Birt:  Eugen Harizomenov
In other roles:  Iosif Balogh, Alexandru Thurzo, Valentin Nica, Octavian Vaida, Alexandru Csiszar

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

by Evgheni Švarţ
Translation: Doina Criş and Ion Vărădeanu

Artistic direction: Alexandru Colpacci
Scenography: Tatiana Manolescu Uleu
Composer: Adi Braun
Choreography: Maria Schneider
Premiere date: November 30, 1972

Taking the central motif from the fairy tale "The Emperor's New Clothes", Evgheni Şvarţ's play "The Naked King" deals in parables with serious problems facing the contemporary world, in particular aspects of a totalitarian system that 20th-century Europe was unfortunately not without. The play's action is set at the militarized court of a king, where "the trees in the garden are lined up, the birds fly in battalions", law and order are unknown and everyone sees the truth, but does not dare to confess it. Everyone blindly obeys the king's orders, whose authority and competence they do not dispute in the slightest: "The king cannot be an idiot... he must always be smart." "He does not grin... at most he laughs magnanimously". The monarch cultivates a myth around his personality that maintains and strengthens his power and keeps his subjects as far away from the truth as possible.

The farce of the young swineherds, who promise the king a wonderful suit, which the fools and those unworthy of their rank cannot see, creates an exceptional symbol: all the courtiers see the king naked, but none dares to say it, either because the king does not like unpleasant announcements, or because each believes himself worthy of his rank. However, once convinced of the nakedness of the ruling system, people set out in search of the truth shake the edifice built on lies and ridicule. Written in 1934, in the midst of the fascist rise, the play leaves much to be guessed behind the lines spoken on stage, becoming a vehement satire on dictatorship in general, and an appeal to sincerity, moral beauty and justice.

Distribution:

Henry:  Nicolae Barosan
Christian:  Theo Cojocaru
King Father:  Eugen Tugulea
The King:  Nicholas Thomas
Princess:  Dorina Paunescu
Governess:  Simona Constantinescu
Minister of intimate feelings:  Ion Abrudan
Prime Minister:  Ion Tomorrow
Chamberlain:  John Martin
The mayor:  Marcel Segărceanu
The court poet:  Mihai Paunescu
Ladies of the court:  Olimpia Mâinea, Doina Ioja, Anca Miere Chirilă, Doina Urlățeanu
The valet:  Grig Dristaru
The Jester:  Eugen Harizomenov
The conductor:  Grig Schiţcu
Lustragi:  Tiberius Varga
The chef:  Octavian Uleu
Woman:  Ana Popa 
In other roles:  Mariana Vasile, Mia Popescu, Carmen Ghiman, Octavian Vaida, Gigi Grosanu

Technical director: Elena Varlam
Prompter. Agy Segărceanu
Lighting: Vasile Blejan
Sound: Dorel Olea

by Mircea Bradu
Absolute premiere

Artistic director: Magda Bordeianu
Assistant director: Eugen Harizomenov
Scenography: Sica Rusescu
Premiere date: October 26, 1972

The well-known figure of the ruler Vlad Tepes, animated by an anti-Ottoman ideology, found an unprecedented embodiment in Mircea Bradu's historical play. The show is set up as an unusual dialogue between Vlad Tepes and posterity. We witness an imaginary interview granted by the ruler to the chroniclers, out of the desire to make the political reasons, the motivation behind each of his famous "atrocities" understandable. The author chooses exactly those episodes that, at first glance, seem inexplicable, difficult to understand: the killing of the peace messengers, the nailing of the turbans from the heads of the Turks, the impaling of ambassadors lacking the intellectual qualities required by their mission or an appropriate clothing style. From what results, Vlad's attitude is neither arbitrary violence nor a whim born of vanity, but a strong affirmation of the dignity of a ruler and a people who can no longer tolerate the humiliation to which they are subjected. The narrated episodes are reconstructed using the "theater within theater" method by the ruler's soldiers, emphasizing the convention according to which it is not the narration that takes precedence, but the debate in terms of ideas and meanings.

Distribution:

Vlad the Impaler Dracula:  Stefan Sileanu (National Theatre of Târgu Mureş)
The abbot:  Ion Tomorrow
The Italian Knight:  Theo Cojocaru
John:  Nicholas Thomas
Necker:  Dorel Urlățeanu emeritus artist
Albert Bölöni of Marzihaza:  Marcel Segărceanu
Euphrosyne:  Eugen Tugulea
The mount and the ground:  Grig Dristaru
Cotean, Turk I and the Captain of the Guard:  Nicolae Barosan
Balmuş, Canon II, Boyar suite Laiota:  Grig Schiţcu
Motoi, Catavolinos, Boyer suite Laiota:  Ion Abrudan
Hamza, Canon I, Boyar of the throne:  John Martin
Mehmed, Boyar Throne and Boyar Suite Laiota:  Eugen Harizomenov
Vodka Layota:  Mihai Paunescu

Technical director: Dalma Simionescu
Prompter: Gigi Groşanu
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in three acts by Dan Tărchilă

Artistic direction: Mihai Raicu
Assistant director: Alla Tăutu
Scenography: Eliza Popescu
Premiere date: April 20, 1972

„"Our Uncle from Jamaica" is Tom Whyer, who in the depths of his soul remained Toma Oaie, a Romanian soul dressed in the clothes of an American millionaire. After decades of absence, he returns to the country to see his family again and ensure the continuity of the wealth he has earned with much effort overseas. For this, he tempts his nephew to accompany him to America, although he understands very well that the greatest and most painful sacrifice was the separation from the country.

Beyond the play's liveliness and comedy, there is a wave of sadness coming from the loneliness of the one estranged from his native land who, after all his defeats, wishes to take "a piece of the country" to Jamaica.

Distribution:

Tudor Teodorescu:  Nicholas Thomas
Eve:  Doina Urlățeanu
Tony:  Geo Nune
Tom Whyer:  Grig Dristaru
George Dalbin:  Octavian Uleu
Cixi:  Marlena Prigoreanu
Verona Winery:  Maud Mary
Vasile Paduraru:  Emil Schmidt

Technical director: Elena Varlam
Prompter: Agy Segărceanu
Lighting: Vasile Blejan
Sound: Dorel Olea

by A.P. Chekhov
Translation: Moni Ghelerter, Mara Nicolau and Radu Teculescu

Artistic direction: Alexandru Colpacci
Scenography: Florica Mălureanu
Music: Adi Braun
Premiere date: March 19, 1972

A sad tale of shattered dreams and hopes, "The Seagull" centers around the theme of the search: some characters seek love, others desire success, and still others aspire to artistic genius. Despite this perpetual search, none achieve happiness and each experiences a silent bankruptcy.

The young Konstantin Treplev tries to define his artistic direction by writing innovative, experimental and abstract plays. He organizes a small performance of one of these plays, offering the main role to the beautiful Nina, whom he loves passionately. Unfortunately, his love is not reciprocated; in fact, none of the characters enjoys the reciprocity of feelings from their loved ones. Driven by ambition and in love with Trigorin, Treplev's mother's lover, Nina flees to the capital, with the thought of becoming an actress. Almost all the symbolic meanings of The Seagull are concentrated in her figure. Her repeated words, "I am a seagull", have become a key phrase of universal dramaturgy: they speak of freedom, of dreams, ideals and destruction, in a profound reflection on the uniqueness of life.

Distribution:

Arkadina:  Simona Constantinescu 
Treplev:  Eugen Harizomenov
Sorin:  Jean Sandulescu
Zarecinaia:  Ruxandra Sireteanu
Shamraev:  Grig Schiţcu
Polina Andreevna:  Doina Ioja
Mass:  Dorina Paunescu
Trigorin:  George Pintilescu
Mandrel:  Ion Tomorrow
Medvedenko:  George Stana
Jacob:  John Martin
A girl in the house:  Virginia Rogin

Comedy by Rudi Strahl
Translation: Aneta Dobre
National premiere

Artistic direction:  Otto Szombati Gille
Scenography: Tatiana Manolescu Uleu
Music illustration: Adi Braun
Premiere date: February 12, 1972

„"The Adam and Eve Trial" is a debate - literally and figuratively - about an essential issue in human life: the founding of a family, a home. The young Adam Schmitt, a car mechanic and footballer, and Eva Muller, a future midwife, looking for the Civil Registry Office, instead find themselves in the courtroom of a separate court, a kind of "pre-civil registry" that is intended to decide whether or not the future bride and groom are allowed to marry. The court is composed of a judge in the process of divorcing, a divorced prosecutor, a convinced single lawyer and a widowed clerk.

The play pleads against the ease with which marriages are sometimes concluded. It is intended to be an alarm signal addressed especially to young people in love, containing some incursions into the past, but also into the probable future of the candidates for marriage, discussing a series of moral, but also material problems of the future marriage. The play defends lasting marriage, based on sincere love, on a good prior knowledge of the partner, on a spirit of responsibility, thus becoming the sine-qua-non element of a fulfilled life.

Distribution:

Adam:  Nicolae Barosan
Eve:  Ana Popa 
The judge:  Dorel Urlățeanu  emeritus artist
The lawyer:  Ion Abrudan
The prosecutor:  Alla Tautu
The clerk:  Marcel Segărceanu 
Hans:  Mihai Paunescu
Hella:  Marlena Prigoreanu

Technical director: Elena Varlam
Prompter: Agy Segărceanu

by B.Şt.Delavrancea, with a prologue from the life of Stephen the Great, by Mihail Sadoveanu

Artistic director: Nicoleta Toia
Assistant director: Eugen Harizomenov
Scenography: Eliza Popescu
Incidental music: Adi Braun
Premiere date: December 30, 1971

"Sunset" opens the "Moldova Trilogy" and is the result of a thorough work of documentation from historical works and folkloric traditions. Inspired by history, it was considered a living chronicle, a large fresco of the turbulent reign of Stephen the Great. The modern note of the play lies in the fact that the emphasis is placed on the internal, psychological conflict, not on the external confrontation between the heroes and the opposing groups. There is a social-political conflict, but it plays a secondary role. It centers around the transfer of power. Voivode Stephen, proud of the victory of his son, Bogdan, decided to enthrone him as ruler. Stephen also checks the judgments made by Bogdan, who also passes this test of worthiness. The plot of the three boyars, led by Ulea, who want to enthrone Ștefăniță, disregarding the ruler's will, precipitates his decision. The climax of the play is reached in Act III, the enthronement, when Ștefan cel Mare also delivers a pathetic and moving speech, full of images with mythological resonance.

Stefan's face is depicted in two poses: that of a man and that of a ruler. The dissociation between the two is visible when Lady Maria asks him: "What hurts you?", and he replies: "Nothing about the prince of Moldavia... And everything about Stefan Mușatin, the son of Bogdan and the grandson of Alexandru cel Bun." The presentation of the hero on the threshold of "sunset", when he has to face not only external adversities, but also his own weaknesses, illness and death, reveals new dimensions and contributes to the even more striking affirmation of his heroic nature, specific to romantic drama, whose evolution in Romanian literature is completed by this creation by Delavrancea.

Distribution:

Stefan:  Nicholas Thomas
The Moghul Clucer:  George Pintilescu
The Logophat Taut:  Ion Tomorrow
Hetman Arbore:  Eugen Tugulea
Bogdan:  Palóczy Frigyes, Emil Schmidt
Toader's Bed Sheet:  Ion Abrudan
The Grumazha Párcalabul:  Grig Dristaru
The Alexa scoundrel:  Mihai Paunescu
Dragoş the Pîrcălabul:  Marcel Segărceanu
The swindler Şandru:  Grig Schiţcu
Old Man Hraman:  John Martin
The scoundrel Jurj:   Corneliu Zdrehus
The Cupbearer Ulea:  Jean Sandulescu
The Steward Dragan:  Nicolae Barosan
The Jitnicer Stavăr:  George Stana
Petru Rares:  Geo Nune
Doctor Cesena:  Dorel Urlățeanu emeritus artist
Doctor Shmil:  Eugen Harizomenov
Mrs. Mary:  Alla Tautu 
Irina:  Simona Constantinescu 
Revive:  Doina Urlățeanu
The Dochia:  Olympia Tomorrow
Oana:  Dorina Paunescu
Ilinca:  Anca Miere Chirilă
Denial:  Ana Popa
Ileana:  Doina Ioja
Balasa:  Marlena Prigoreanu
Oleana:  Marta Nagy 
Stanisoara:  Virginia Rogin

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala
Lighting: Vasile Blejan, Emeric Kozák
Sound: Dorel Olea