by Guilherme Figueiredo
Translation: Miron – Lasernon – Vincze

Artistic director: Szombati Gille Otto
Assistant artistic director: Mihai Păunescu
Scenography: Eliza Popescu
Premiere date: November 11, 1971

The play by Brazilian writer Guilherme Figueiredo is not a reworking of the famous fable, but a poetic and critical reconsideration of it. Starting from the life of the fabulist Aesop and reconstructing a series of events and figures around him (master Xantos, his wife, Cleia, the slave Melita), the play turns into a subtle plea for peace and freedom. The flashes of the brilliant mind of the slave Aesop contrast with the deprivation of freedom and dignity, considered the only condition in which the human personality can fully assert itself. According to the director, the play is only apparently a comedy, being in fact permeated by a strong tragic thrill.

Distribution:

Aesop:  Eugen Harizomenov
Glue:  Simona Constantinescu
Xanthos:  Thomas Nicholas
Melita:  Virginia Rogin
Agnostic:  Eugen Tugulea
The Ethiopian:  Nicolae Barosan

Technical director: Elena Varlam
Prompter: Agy Segărceanu

by Horia Lovinescu

Artistic direction: Alexandru Colpacci
Scenography: Maria Haţeganu
Music illustration: Adi Braun
Premiere date: October 8, 1971

„"The Man Who..." by Horia Lovinescu is inspired by the actions of security service workers, being a communist plea for revolutionary vigilance, the defense of secrets and the general interest of the state. The style of the play brings it closer to the detective genre and uses many of the conventions of this type of writing: the action takes place in the country and abroad and abounds in spectacular reversals of the situation and theatrical coups. Beyond these, the subject punctuated by adventure acquires the value of an ethical debate about the problems of the socialist order.

Distribution:

The path:  Dorel Urlățeanu emeritus artist
Focsa:  Eugen Tugulea
Wild:  Marcel Segărceanu
Announcer:  Grig Schiţcu
Parapontu:   Mircea Olariu, Mihai Paunescu 
Corbutu:  Ion Abrudan
Matthew White:  George Pintilescu
Albert:  Nicolae Barosan, Geo Nune
Eliza:  Eniko Hello, Ruxandra Sireteanu
The doctor:  John Martin 
David:  Emil Schmidt, Nicolae Barosan
The Chief and the Minister:  Carol Lavott
Major Brown:  Corneliu Zdrehus
Dorval and Cultural Attaché:  Octavian Uleu
Dan Zamcea:  Eugen Harizomenov
Sandra Albu:  Dorina Paunescu
Fredi Poluxis:  Jean Sandulescu
Colonel Parvulescu:  Nicholas Thomas
Major Mironescu:  Grig Dristaru
Captain Constantine:  George Stana
Veta:  Ana Popa
The tall character:  Ion Tomorrow
Ladies invited to the cocktail party:  Olimpia Mâinea, Alla Tăutu, Anca Miere Chirilă, Simona Constantinescu, Marlena Prigoreanu, Virginia Rogin, Doina Ioja
A waiter:  Geo Nune

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

by Alecu Popovici

Artistic director: Dorel Urlăţeanu emeritus artist
Scenography: Eliza Popescu
Music: Vasile Veselovschi
Musical direction: Ioan Danko
Choreography: Any Ungureanu
Premiere date: 1971

Distribution:

Grandfather:  Dorel Urlățeanu emeritus artist, Grig Schiţcu
Father:  Jean Sandulescu, Grig Dristaru
Alex:  Elisabeta Jar, Dorina Paunescu, Ana Popa
Snake Woman:  Doina Urlățeanu
Zebra:  Corneliu Zdrehus
Bear:  Ben Dumitrescu, Ion Martin
Panther:  Geo Nune
The tiger:  George Stana
Leo:  Olympia Tomorrow
One-two-three:  Marcel Segărceanu
Pump:  Ion Abrudan
A puppy:  Ani Ungureanu
A mouse:  Nagy Marta
A cat:  Gabriela Teodorescu

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Lighting: Vasile Blejan

Atrocious farce in two parts by Aurel Baranga
Absolute premiere

Artistic director: Marietta Sadova
Assistant director: Alla Tăutu
Scenography: Tatiana Manolescu Uleu
Premiere date: May 27, 1971

A play full of fervor and vivacity, "The General Interest" takes the organization of a ministry as its objective of satire. The play conveys the call for civic responsibility, which must be assumed by those who have received the trust of the people and are appointed to high positions. Implicitly, the play transforms into an indictment addressed to demagogy, stupid bureaucracy, embarrassing servility, and success built on reprehensible practices. The dramatic modality used is that of the theater within the theater, and the final resolution avoids the superficial happy ending and moralizing conclusions.

Distribution:

The director:  Nicolae Barosan
Aurelia Tintoca:  Simona Constantinescu
Toma Hrisanides:  Nicholas Thomas
Flatfish:  Octavian Uleu
Uncles:  Anca Miere Chirilă
Lucia Felicia Popescu Hrisanide:  Gina Nicolae
Sfintescu:  John Martin
Lentils:  Grig Dristaru 
Ion Carapetrache:  Ion Tomorrow
It complains:  Mircea Olariu
Mihailescu:  Dalma Simionescu

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

Play in two acts by Edward Albee
Translation: Antoaneta Ralian
National premiere

Artistic director: Marietta Sadova
Scenography: Eliza Popescu
Premiere date: April 22, 1971

The debut of the play "Everything in the Garden" (set in the late 1960s, in an ordinary American suburb) is made in the style of a comedy of manners and brings to the fore the couple Jenny and Richard, concerned with the problem of every ordinary person: too many bills to pay and not enough money to do it. However, the play then raises many serious questions: how far is a person willing to go to get this money? At what cost? Are you willing to use your body? But what about the bodies of your loved ones?

Out of the blue, Mrs. Toothe offers Jenny the opportunity to earn more money than they have ever had, to buy their lawnmower, greenhouse and other luxuries for the garden and home that they have so much wanted. After a while, Richard realizes with amazement that the money his wife has earned comes from prostitution, but he masks his horror and disgust in order to maintain the appearance of the family's respectability. Moreover, he understands that his friends' wives are also involved in the same kind of activity, and their husbands know about and even encourage this practice. They are ready not only to justify it, but even to support it, finding practical means to move the brothel when the old premises are threatened with closure. Devastated, Richard must assume his share of the collective guilt for causing this tragedy.

Distribution:

Richard:  Ion Tomorrow
Jenny:  Elizabeth Jar
Roger:  Geo Nune
Jack:  Jean Sandulescu
Mrs. Toothe:  Maud Mary
Chick:  Ben Dumitrescu
Beryl:  Doina Urlățeanu
Gilbert:  Octavian Uleu
Louise:  Olympia Tomorrow
Perry:  Marcel Segărceanu
Cynthia:  Simona Constantinescu

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Sound: Dorel Olea

Ballad by Silvia Andreescu and Theodor Mănescu

Artistic direction:  Otto Szombati Gille
Decor:  I.Géza Bíró
Costumes: Maria Hateganu
Premiere date: March 15, 1971

„The dramatic "Balada" by Silvia Andreescu and Theodor Mănescu is a play about the illegal struggle of the communists that puts in antithesis, at least apparently, two characters: an orderly and the colonel-magistrate whom he must hand over alive and unharmed into the hands of his comrades. The orderly is an old communist fighter, and the colonel suffers from all the hardships of the bourgeois military, behind which, in fact, merits in the anti-fascist struggle are hidden, which few know about. On the eve of August 23, 1944, the two travel together a path full of adventures, along which they support each other, cultivating trust in their fellow men, but also a sense of duty. The end of the play punctuates the action with popular verses and folkloric commentaries, intended to project the unfolding of events on a mythical background.

Distribution:

The officer:  Nicholas Thomas
Orderly:  Eugen Tugulea
Parent:  Alla Tautu
Woman:  Gina Nicolae
Balint:  Ion Abrudan
The beggar:  John Martin
The investigator:  Mircea Olariu

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu
Lighting: Vasile Blejan
Sound: Dumitru Olea

Comedy in two acts – with music, couplets and dance – by ILCaragiale

Artistic direction: Mihai Raicu
Assistant director: Jean Săndulescu
Scenography: Maria Haţeganu
Couplets: Nicolae Popeneciu
Music and musical direction: Mihai Vasilescu
Premiere date: February 20, 1971

„"A Stormy Night", the well-known play by IL Caragiale evokes a not too distant and not at all idealized time, a time when human characters mirror absolutely hilarious morals and situations, worthy of highlighting, since we can find current typologies, doing just a small recognition exercise. Captain Dumitrache Titircă, also known as Inimă-Rea, a captain in the Civil Guard and a liberal political activist, is a man who respects himself and wants to be respected, especially in his "honor as a family man". Very outraged by the "vagrants" who have filled the world, Dumitrache tells his friend Nae Ipingescu how for two weeks, an "employee" has been burning his days, looking for ladies: Veta - his wife and Ziţa - his sister-in-law. Veta, however, married at a young age to Dumitrache, a "coptic" man, has an affair with Chiriac, the captain's trusted man. The comic climax is reached when from the street, Dumitrache, who is doing his night patrol, shouts to Chiriac, tightly embraced by Veta, to watch over his honor as a family man.

The second act is explosive and the adventures follow one another at a dizzying pace. Accidentally entering Veta's room in the dark, Rică Venturiano, Zita's admirer and none other than the "tramp" pursued by Dumitrache, is helped by Veta to escape the wrath of her jealous husband. In the end, the intruder is caught, but everything ends well. For Dumitrache, the alliance through Zita's marriage to Rică, a law student and ardent publicist, seems salutary. When things seem to have calmed down and the storm caused by a reversed house number is completely calmed down, Master Dumitrache has one last jolt of "ambition", taking out of his pocket the necktie found in his wife's bed. Chiriac, however, gives the necessary explanations: "Yes! Come back, master; that's my tie, don't you know?". The great subtlety lies in the fact that we will never know whether Dumitrache knows this spicy truth about his family life or not.

The 1970 staging of the well-known Caragiale text brought as a novelty the inclusion of musical couplets created by the Satu Mare actor Nicolae Popeneciu. Their introduction was considered welcome, as they were a continuation of the characters' lines, an underlining of them, adding color and excitement to the stage action.

Distribution:

Master Dumitrache:  Octavian Uleu
Nae Ipingescu:  Marcel Segărceanu
Chiriac:  Ion Tomorrow
Spyridon:  Grig Dristaru
Rica Venturiano:  George Stana
Veta:  Olympia Tomorrow
Zita:  Anca Miere Chirilă, Gina Nicolae 
Perform couplets:  Gina Nicolae, Ion Martin, Grig Schitcu, Ana Popa
Dancer:  Ani Ungureanu, Marta Nagy

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy by Bertolt Brecht
Translation: Mariana Șora and Mircea Șeptilici

Artistic direction: Alexandru Colpacci (debut)
Scenography: Dan Erceanu
Premiere date: December 19, 1970

The belief behind the play "The Disappearance of Galy Gay. A Man = a Man" is that the human personality can be dismantled and reassembled like a machine, without the man losing anything. We are therefore offered a strange experience, through which the gentle and harmless dockworker Galy Gay will be transformed into the soldier Jeraiah Jip. On an evening like all the others in India, Galy Gay leaves home with the intention of buying a fish for household needs. He meets three English soldiers who, in order not to be sanctioned, ask him to participate with them at the evening roll call, in place of a missing comrade. Reluctant at first, Galy Gay accepts, being unable to say NO. His adventure thus becomes a consequence first of naivety, then of helplessness, because once he enters the position of soldier Jip and responds "presently" to the call, his previous self ceases to exist. He will gradually change his character and personality, going through moments of extreme violence, even being confronted by the firing squad. The peaceful man at the beginning, disarmingly docile, will eventually kill innocent people during the assault of a fortress. Thus, the play seems to suggest that in the economy of the world's making, people with their personalities are interchangeable.

Anticipating in a way the art of brainwashing, Brecht personified in Galy Gay the typical victim of the process of dehumanization through standardization, massification, regimentation in a structure destined for violence and destruction. Indeed, at the time of writing the play, the author was concerned with the evolution of man that can transform the innocent into a war machine. The imprecation at the end is an indictment addressed to all those who sow the seeds of war in the world: "May you never have rest and go from war to war, may you roam the whole earth and may no place on earth receive you. May the snows of the mountains freeze over you and the sands of the deserts burn you and may you never return from where you left!"„

Distribution:

Gay Gay:  Nicholas Thomas
Wife:  Doina Ioja
Hunger:  Ion Tomorrow
Jeep:  Grig Dristaru
Jesse:  Ben Dumitrescu
Polly:  Octavian Uleu
Wank:  George Stana
Fairchild:  Ion Abrudan
Begbick:  Gina Nicolae
Mah-Sing:  Grig Schiţcu
Soldier I:  John Martin
Soldier II:  Geo Nune
In figuration: the entire collective of the Romanian section.

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Lighting: Vasile Blejan
Sound: Dorel Olea

A coupé show of three comedies in one act
Adaptation: Emanoil Enghel

Scenography of the entire show: Maria Haţeganu
Premiere date: December 12, 1970

In an anonymous provincial town, young Olimpia is a fervent member of progressive circles that campaign for the emancipation of women. Her uncle, Târgovișteanu, does not understand this girl's involvement in activities that make women neglect household chores and other typically feminine duties. Therefore, he seeks the advice of Dr. Ursulescu, who indicates to her the remedy for this strange malady, marriage. Olimpia, however, does not want to hear of such a thing and does not show interest in any suitor... until the appearance of Marin, who promises to fight her at the gathering of the feminist society that takes place right at her home. When Marin appears at the reunion, Olimpia suddenly forgets the entire elaborate speech prepared with much effort beforehand and faints with emotion right in the arms of her admirer. When he declares his feelings and intentions to marry her, Olimpia forgets all her feminist impulses, promising that she will be the most worthy wife they have ever seen.

Zoe
Comedy in one act, after Yves Mirand
Artistic director: Jean Săndulescu
Distribution:
Mr. Popescu:  Jean Sandulescu
Mrs. Popescu:  Olympia Tomorrow
Zoe:  Ana Popa
Urziceanu:  Marcel Segărceanu

Three doctors
Comedy in one act, localization from German by Virginia Vlaicu
Artistic director: Eugen Ţugulea
Distribution:
Balteanu:  Octavian Uleu
Adela:  Doina Urlățeanu
Nelly:  Ana Popa
Adrian:  Geo Nune  
Ionescu:  George Stana
Dr. Giorgian:  Ion Abrudan
Ion:  John Martin

The gurgling of love
Comedy in one act by Iosif Vulcan
Artistic director: Dorel Urlăţeanu emeritus artist
Distribution:
Targovisteanu:  Marcel Segărceanu
Dr. Ursulescu:  Mircea Olariu, Dorel Urlăţeanu emeritus artist
Gogu:  Geo Nune
Anika:  Ana Popa
Olympia:  Simona Constantinescu
Marine:  Ion Abrudan
Thursday:  Anca Miere Chirilă
Rita:  Doina Urlățeanu
Lucsita:  Olympia Tomorrow
Dora:  Alla Tautu
Betty:  Ildiko Kiss

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu

Comedy in three acts by Virgil Stoenescu

Artistic director: Nicoleta Toia
Assistant director: Ion Abrudan
Scenography: Tatiana Manolescu Uleu
Music illustration: Zoltán Boros
Premiere date: October 1, 1970

„"I know of nothing more disturbing, more contradictory, more uncertain and more unusual than the constantly agitated being of the young man. Thousands of questions, dreams and grandiose ambitions burn within him. Immense potentiated energies bubble within him, ready to explode into Promethean, unique, astonishing feats - sometimes disconcerting, sometimes reprehensible - but always ennobled by the huge price thrown - with an unconscious generosity - by this young man in the balance and which is his own destiny, his own life.

One such character is Dinu, the hero of my comedy "The Death of the Last Golan". In fact, this character wears a false emblem. Dinu is not a golan. He plays at being a golan. He displays it as a kind of noble coat of arms. However, under this coat of arms there is an unconfessed seriousness hidden. By not confessing it, Dinu defines himself as a timid person. And not infrequently such people convert their timidity into a very well-disguised cynicism. Of course, Dinu pays a heavy tribute to his superficial and careerist nature. Maybe he is too hasty to find an answer to the complicated questions that life poses to a young man. Maybe the methods he resorts to to reach his goal are contrary to the ethics of our society. But at least one thing cannot be disputed about my hero: the courage of sincerity! A cruel, painful sincerity, when a man is confronted with his own mistakes. (Virgil Stoenescu in the show's program booklet)

Distribution:

Dinu:  George Pintilescu, Nicolae Barosan
Phoney:  Grig Dristaru
Laura:  Gina Nicolae
Gina:  Andra Teodorescu, Ana Popa
Mountains:  Ana Popa, Ildiko Kiss
The Minister:  Nicholas Thomas
Valentine:  Marcel Segărceanu
Help:  Ion Abrudan

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Sound: Dorel Olea

Drama in three acts by IDSîrbu

Artistic direction:  Otto Szombati Gille
Assistant director: Gheorghe Stana
Scenography:  I. Geza Bíró
Premiere date: September 12, 1970

„"The Ark of Good Hope" undertakes, in the archetypal terms of the parable converted into theatrical expression, a meditation on the destiny of humanity, located on the symbolic ark of its own history. Noah's ark floats alone, lost in the blasphemy and in the boundless night. The biblical legend becomes a pretext to depict the deep motives that set in motion the energies of history: the eternal struggle between hope in the future and the forces of darkness, of pride, the thirst for domination, the helpless despair. The characters of the play represent one of the conflicting camps. Shem is the obscure, elemental force, founded on the principle of the right of the strongest; Ham embodies the dehumanization of that part of modern science whose goal is not the happiness of humanity, but supremacy over the universe; Japheth, the youngest brother, seeks a positive sign, a connection with humanity, a possible world. The appearance of the woman Ara, invested with the virtues of the mother of humanity, stirs up strife, unleashes passions and ambitions latent until then. In the end, Noah and his partner, the Old Woman, die, the two brothers of vain ambitions also perish, leaving only Ara and Japheth, embodying hope in a future world. The philosophical charge of the play suggests that beauty, wisdom, humanity, love are values that exist and remain to germinate further in the given space of the ark that symbolizes the world.

Distribution:

Noah:  Dorel Urlățeanu emeritus artist
Noah:  Alla Tautu
I am:  Eugen Tugulea
Harness:  Jean Sandulescu
Japheth:  Nicolae Barosan
Ara:  Elizabeth Jar
Protoss:  John Martin

Café-theater show
Poetry and song recital from Bihor, from texts collected by Ion Bradu
Premiere date: May 14, 1970

Artistic direction: Corneliu Zdrehuş
Scenography: Eliza Popescu
Accompanying: Mihai Vasilescu

Performed by: Anca Miere Chirilă

„"Alină-te, dor, alină" continued the series of café-théâtre performances, establishing a substantial form of lyrical communication in an intimate setting. Anca Miere-Chirilă's recitation was made up of a selection of texts on the theme of love, collected from the book "Alină-te, dor, alină" by the Bihor folklorist Ion Bradu. The feeling of love is captured from its first budding to the consuming torment hidden or revealed to the entire cosmos. The folkloric universe is restored in its integral dimension by combining verse and music, faithfully emphasizing the soul coordinates of the anonymous creator.

Café-théâtre performance based on the writings of Teodor Mazilu

Artistic director: Ion Mainea
Scenography: Tatiana Manolescu Uleu
Premiere date: May 12, 1970

The show "Vicious Circle" groups four of Teodor Mazilu's five skits known under the title "Tenderness and Abjection": "The Hat on the Bedside", "The Scar", "A Boat Trip" and "Vicious Circle". The direction was signed by Ion Mîinea, at the same time the main performer in all the skits. They are different in profile, but organically linked by the message conveyed: criticism of man's irresponsibility towards his own person. Over his generous soul, a layer of annoying social conformism is often deposited, which predisposes him to an existence far from the natural one. This is the oscillation between tenderness and abjection, which is not criticized or satirized, but simply revealed.

The hat on the bedside table
Distribution:
Demeter:  Ion Tomorrow
Parent:  Doina Urlățeanu
A friend:  Marcel Segărceanu
Ballerina:  Gina Nicolae

A boat ride
Distribution:
Marinescu:  Ion Tomorrow
Cecilia:  Gina Nicolae

scar
Distribution:
Alec:  Ion Tomorrow
Dragan:  Marcel Segărceanu

Vicious circle
Distribution:
Potter:  Ion Tomorrow
This year:  Doina Urlățeanu
Sapphire:  Marcel Segărceanu

Technical director: Elena Varlam
Prompter: Geta Barosan
Sound: Dorel Olea

Comedy in three acts by Ilie Păunescu and Paul Aristide
Absolute premiere

Artistic direction: Mihai Raicu
Assistant director: Eugen Ţugulea
Scenography: Stelian Anton
Premiere date: May 16, 1970

The action of the comedy "Head Salad" takes place in an imaginary country, Metropolitania. A car accident occurs on the road, which allows the angels to pull a prank whose consequences are difficult to predict. In the accident, Palace, a hotel owner in the capital, and his driver, Pepi, lose their heads. Palace's guardian angel, Mironmarimora, is a little drunk and makes a technical mistake: he resurrects the two, but, by mistake, he switches their heads: Palace's white head is given to the black driver and vice versa. This is where the confusion and bizarre intrigue of the comedy begin. A great inheritance awaits one of the heroes. But who knows who is the true heir: the one with the original body or the original head? Whose is the beautiful Blanca? A show full of metaphors, "Head Salad" calls for cultivating personality and accumulating those riches that will remain enduring values - intelligence and humanism.

Distribution:

Galumpia:  Ana Popa
Miromarimora:  Elizabeth Jar
Palace:  Nicolae Barosan
Pepi:  Grig Dristaru
Toramilia:  Simona Constantinescu
Blanca:  Doina Ioja
The assassin:  George Pintilescu
The President:  Nicholas Thomas
First prosecutor:  Radu Voicescu
The photojournalist:  Ben Dumitrescu
Margonia:  Anca Miere Chirilă
Coryphea:  Alla Tautu
Choir of guardian angels:  Ibolya Csíky, Mária Rácz, Annamária Biluska

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu
Sound: Dorel Olea

Comedy in three acts by Oscar Wilde
Translation: Alexandru Alcalay and Sima Zamfir

Artistic director: Farkas Ştefan and Jean Sandulescu
Scenography: Maria Haţeganu
Premiere date: April 19, 1970

The comedy "What It Means to Be Honest" develops the parallel stories of two young English gentlemen. Jack Worthing, a foundling and adopted by a nobleman, leads a double life, being known as a respectable and responsible young man on his Hertfordshire estate; for years, he claims to have a brother named Ernest in London, who leads a scandalous life, dedicated exclusively to pleasure. In reality, Ernest is just an alibi that allows Jack to go to the capital whenever he wants, probably to lead the same kind of life that he criticizes in the case of his imaginary brother.

His best friend, Algernon Montcrieff, charming, witty, and intelligent, has invented a friend named Bunbury, whose fluctuating health allows him to evade unpleasant or boring social obligations.

Things get complicated when the two are involved in intersecting love stories: Jack is in love with Gwendolen, Algernon's cousin, who in turn is in love with Cecily, Jack's ward. The game of false identities risks becoming dangerous, as both girls dream of marrying a man named Ernest (Honest), who inspires them with absolute trust. The only hope of the two suitors is the priest Chasuble, to whom they turn on the same day to be baptized Ernest. The appearance of Lady Bracknell, Gwendolen's mother, and Miss Prism, Cecily's governess, triggers a chain of revelations, blackmails and revelations, as a result of which it turns out that the two gentlemen are brothers and that nothing stands in the way of the happiness of the two couples. In the frenzy of finding his identity, of resolving the situation full of secrets and miraculous discoveries, Jack confesses that he understood "what it means to be Honest.".

Distribution:

John Worthing:  Ion Abrudan
Algernon Montcriff:  George Stana
Chasuble:  Octavian Uleu
Marryman:  Grig Schiţcu
Lane:  Corneliu Zdrehus
Lady Brecknell:  Olympia Tomorrow
Gwendolen:  Gina Nicolae
Cecily:  Andra Teodorescu
Miss Prism:  Maud Mary, Doina Ioja

Technical director: Elena Varlam
Prompter: Geta Barosan

by Arthur Miller
Translation: Sima Zamfir

Artistic direction:  Otto Szombati Gille
Scenography: Eliza Popescu
Premiere date: March 14, 1970

Arthur Miller's famous play investigates both the conflicts within a family and general themes such as American values, failures and illusions of the modern world. Willy Loman's drama demonstrates the price of blind faith in the American Dream, but in a distorted version of it, a false myth built around the materialism of the post-war era. Willy Loman, an unsuccessful traveling salesman, believes wholeheartedly that the man who knows how to please others will have an undoubted success in business and will acquire the material comforts offered by the modern lifestyle. This is just one of the illusions in which he strongly believes. His inability to understand the difference between dream and his own life leads to the alteration of his relationships with his wife, Linda, and with his two sons, Biff and Happy. The alternations of reality-illusion, past-present also translate into a degeneration of Willy's psychic faculties.

His effort to raise perfect sons is contradicted by reality. For Willy, Biff was the embodiment of all the possibilities of success in life. Biff's series of failures in school and in his profession, the inability to start his own business, which Willy understands as a personal affront, as a betrayal of his ambitions as a parent, alienates the son more and more from his father.

Although Willy Loman's life may seem like a series of failures (including his death by suicide while driving), playwright Arthur Miller considers his character "a very brave man, who does not suddenly stop halfway, but rushes to the end, along with his dreams."„

Distribution:

Willy Loman:  Dorel Urlățeanu emeritus artist
Linda:  Alla Tautu
Biff:  Nicolae Barosan
Happy:  Ben Dumitrescu
Bernard:  Gheorghe Stana, Ion Martin
Woman:  Doina Urlățeanu
Charlie:  Eugen Tugulea
Uncle Ben:  Mircea Olariu
Howard Wagner:  Nicholas Thomas
Jenny:  Anca Miere Chirilă
Stanley:  Marcel Segărceanu
Miss Forsythe:  Elizabeth Jar
Letta:  Ana Popa

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu
Lighting: Vasile Blejan
Sound: Dorel Olea

Play in two parts by Ionel Hristea

Artistic director: Eugen Ţugulea
Scenography: Maria Haţeganu
Premiere date: February 1970

The action of the play "A Place Left Free" takes place in the tiny space of a train compartment, where He and She, passengers, intersect. The journey is the pretext for discussions that abound in maxims and almost philosophical reflections on eternally valid issues, such as: family and society, loneliness, platonic love, jealousy, ideals, all converging on the ultimate question - does happiness exist?

Distribution:

It:  Elizabeth Jar
He:  George Pintilescu, Eugen Tugulea
The Ceferist:  Marcel Segărceanu

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu
Lighting: Vasile Blejan
Sound: Dorel Olea

Comedy in two acts by Calderón de la Barca
Translation: Val Săndulescu and Mariana Crainic

Artistic director: Nicoleta Toia
Scenography: Tatiana Manolescu Uleu
Premiere date: January 24, 1970

„"The House with Two Entrances", one of the most witty comedies of the prolific Spanish writer, is a play conceived in a playful way, the idea of play being its specific note. If a house has two entrances, many unforeseen things can happen inside it: people enter through one gate and, before they are found, disappear through the other. It is very difficult to guard a house with two entrances, especially when there is a girl to be married inside. The complicated love story that is born includes, in the good tradition of commedia dell'arte, a series of confusions, misunderstandings, disguises, secrets. It is even suggested that the traditional isolation of women can produce disorder and endanger love and friendship. In the end, with the help of the thawed, wise and skillful servants - although not always sincere - everything returns to normal and everyone finds their partner, to the good mood of the spectator, drawn into the lively and alert rhythm of the play.

Distribution:

Don Felix:  Ion Abrudan
Lisardo:  Ion Tomorrow
Fabio:  Octavian Uleu
Pumpkins:  Grig Dristaru
Herrera:  Grig Schiţcu
Laura:  Elizabeth Jar
Marcella:  Gina Nicolae
Silvia:  Ana Popa
Celia:  Andra Teodorescu
Lelio:  John Martin

Technical director: Elena Varlam
Prompter: Sofica Spoiala