Enchantment in six paintings in verse by Valentin Avrigeanu

Artistic direction: Valeriu Grama
Scenography: Eliza Popescu
Musical illustration: Magda Cozmuţa and Dorel Olea
Premiere date: December 27, 1967

Intended primarily for a young audience, the show "Floare de nu-mă-uita" is a magic show with the world of a fairy tale as its substratum. The pretext of the play is the dramatic, direct confrontation between the forces of evil, who want to stop time in its tracks, and the positive characters who are ready to invest everything to ensure the natural development of things. These positive characters do not bear the traditional names from children's fairy tales, but are called Boabă de Piper, Moş Ferigă, Fir de Basuioc or Voinicul Freamăt. The text manages not to become a versified illustration of a thesis and conquers through delicate, flowing poetry, devoid of stridentness or overtly moralizing elements. Moreover, instead of transporting the spectator to the world of a fairy tale, the author brings it closer to the viewer, trying to demonstrate to him that the "story" is everywhere around him, especially if he wants and learns to discover it.

Distribution:

Emperor Rosehip:  Jean Sandulescu
Rosehip flower:  Gina Nicolae
Rosehip thorn:  Ion Abrudan
Peppercorn:  Eugen Tugulea
Axe handle:  Octavian Uleu
Head the size of an egg:  John the Baptist
Santa Fern:  Nicholas Thomas
Basil sprig:  Ben Dumitrescu
Gelau:  Grig Schiţcu
Anvil:  John Martin
Trowel:  Anca Miere Chirilă
Bobbin:  Doina Ioja
Granny Mătăguna:  Ulpia Hirjeu Musceleanu
Freamat-Voinicul:  George Pintilescu 
The tearful Miora:  Ana Popa

Technical director: Elena Varlam
Prompter: Sofica Spoiala

Historical drama in four acts by Ion Omescu

Artistic director: Ion Deloreanu
Scenography: Tatiana Manolescu Uleu
Premiere date: November 12, 1967

A metaphorical play, of a romantic-patriotic nature, "The Winter Age" introduces us behind the scenes of political life at the court of "a nameless lord, from an era without brilliance" (Ion Omescu). The generic central character and the vague historical moment (probably sometime in the era preceding the Phanariot reigns) serve the author's interest in avoiding museum reconstruction in favor of an authentic drama. The glory years of the great rulers have passed; the enemies surrounding the country are too many and too powerful. Under these conditions, only negotiations and diplomacy can save the country. Steadfast, prudent, circumspect in actions, aware of his role in the development of national and European culture, the Lord becomes a symbol. He sums up the traits of many patriotic rulers who defended the integrity of the borders and the national being. Metaphorically speaking, he becomes "the vine that covers the vineyard, takes it out of winter... protects it from the cold." The end of the play does not bring resolution to the conflict: the representatives of foreign powers continue to assault the throne, and the blizzard blows: winter is not over.

Distribution:

Mr:  George Musceleanu
Radu, his son:  Nicolae Barosan
The speaker:  Nicholas Thomas
Scarlet:  Ion Tomorrow
Mihu:  Ion Martin, Ion Abrudan
The speaker Toma:  George Pintilescu
The confessor:  Jean Sandulescu
The king's soil:  Ben Dumitrescu
Neacsu:  Valentin Avrigeanu
Iordache:  John the Baptist
Pasha of Silistra:  Octavian Uleu
Five Agassi:  Eugen Tugulea
Joseph:   Marcel Segărceanu
The merchant:  Constantin Simionescu
Lady:  Simona Constantinescu
Anna:  Gina Nicolae
Rock:  Ana Popa

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

Historical, entirely unhistorical comedy in four acts by Friedrich Dürrenmatt
Translation: Aurel Buteanu and H. Radian

Directed by: Sanda Manu
Scenography: Traian Nițescu
Premiere date: September 30, 1967

In „Romulus the Great”, Friedrich Dürrenmatt intentionally falsifies history: the last emperor of Rome, Romulus, is not the child emperor known to history, but a skeptical philosopher, who consciously dismantles the empire. While the ancient world is dying around him, he finds a purpose in raising chickens, which he names after the last Roman emperors (the hen named after Odoacer – the Visigothic conqueror – is the most productive in eggs). For years he plays the fool and no one in his entourage realizes that this extravagance is, in fact, a method. Historical events and figures are modernized and trivialized in a manner reminiscent of GB Shaw and contributes to the dismantling of the commonplaces of historical thought and literature. According to them, the collapse of an empire necessarily takes on tragic connotations. On the contrary, in the Swiss playwright's play, this event even has comic valences, with subtle ironies directed at history and its personalities. As the author himself mentions, "The tragedy of the play lies in the comedy of its end: the retirement of Romulus by Odoacer", a lucid leader who understands that with the takeover of the conquered territories, the problems of the defeated empire will also be taken over and that his new power will also be crushed and condemned. Theodoric already appears on the horizon of history.

Distribution:

Romulus Augustus:  George Musceleanu
Julia:  Maud Mary
Rhea:  Gina Nicolale
Zeno the Isaurian:  John the Baptist
Aemilian:   Nicolae Barosan
Mares:  Vladimir Jurascu, Ben Dumitrescu
Tullius Rotundus:  Ion Tomorrow
Spurius Titus Mamma:  John Martin
Achilles:  Jean Sandulescu
Pyramus:  Nicholas Thomas
Apollyon:  Marcel Segărceanu
Caesar Rupf:  Octavian Uleu
Philax:  Constantin Simionescu
Odoacer:  Eugen Tugulea
Theodoric:  George Pintilescu, Ben Dumitrescu
Phosphorides:  Valentin Avrigeanu
Sulfur:  Ion Abrudan
The chef:  Grig Schiţcu

Technical director: Elena Varlam
Prompter: Agy Segărceanu
Sound: Dumitru Olea

by William Shakespeare
Translation: Florian Nicolau

Artistic director: Ion Deloreanu
Scenography: architect Vladimir Popov
Fencing Master: A.Pelegrini
Musical illustration: Nicolae Neagoe
Premiere date: May 27, 1967

The shortest of Shakespeare's tragedies, but one of his most complex creations, "Macbeth" illustrates, using various techniques, including means of the fantastic, the disastrous consequences of immeasurable ambition and the thirst for power.

The predictions of three witches, according to which General Macbeth will become "than of Cawdor" and then the king of Scotland himself, ignite in Macbeth's soul the desire to turn them into reality, overcoming all obstacles and even resorting to murder. Next to him is Lady Macbeth, who maintains and enhances her husband's ambition at every moment, from winning the throne to its sudden loss. Betrayals, assassinations, the horror of having blood on his hands, but also their positive reverse - nobility, the desire for justice and strength of character are all depicted in a play that is extremely played in the world, in which political issues are intertwined with ethical ones. Macbeth's character has become almost a legend over time, being synonymous with the renunciation of humanity in exchange for absolute power.

Distribution:

Duncan:  George Musceleanu
Malcolm:  Jean Sandulescu
Donalban:  Ion Abrudan 
Macbeth:  George Pintilescu
Banqo:  Ion Tomorrow
Macduff:  Vladimir Jurascu
Lennox:  Nicolae Barosan
Ross:  Nicholas Thomas
Menteith:  Marcel Segărceanu
Angus:  Valentin Avrigeanu
Siward:  Eugen Tugulea
Siward the son:  Valeriu Grama
Seyton:  John the Baptist 
Macduff the son:  Ana Popa
The Scottish Doctor and the Old Man:  Constantin Simionescu
Goalkeeper:  Dorel Urlăţeanu, emeritus artist
The first killer:  Octavian Uleu
The second killer:  John Martin
Servant:  Grig Schiţcu
Lady Macbeth:  Simona Constantinescu
Lady Macduff:  Olympia Tomorrow
Hecate:  Maud Mary
The first witch:  Anca Miere Chirilă
Second witch:  Ulpia Hirjeu Musceleanu
Third witch:  Alla Tautu
A lady in the service of Lady Macbeth:  Doina Urlățeanu
Second lady in the service of Lady Macbeth:  Gina Nicolae
Fleance:  Mircea Berlo

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala
Sound: Dorel Olea

by Camil Petrescu

Artistic director: Marietta Sadova
Scenography: Tatiana Manolescu Uleu
Premiere date: February 11, 1967

A land of calm appearances and passionate outbursts, of cynical confrontations and frankness, of soulful errors and tragic enlightenments, "Venetian Act" is more than a drama of love, a drama of honor, a category so specific to the southern world. Pietro Gralla and Alta, married several years ago out of love, are the protagonists of a complex conflict, triggered when Cellino, a young, philistine patrician, Pietro's subordinate, appears by chance in their house. Abandoned ten years ago by Cellino, Alta has always dreamed, at least subconsciously, of him, in fact, of the image she imagined. The confrontation between Alta and Pietro has its substratum in the different attitude of the two towards life and in the different representations they have about love. Pietro carries out his life according to principles, in concepts, he claims the world logically. Alta has a perception of concrete life, her participation in knowledge is of an intuitive nature.

Losing love, the two lose the ordering meaning of their lives. Pietro goes far away, it is not known where, probably to resume his life as a fighter on the seas, and Alta that of an artist. If they survive spiritually, giving a meaning to their lives – other than love – they will save themselves.

Distribution:

Other:  Viorica Cernucan
Pietro Gralla:  Vladimir Jurascu
Nicola:  Octavian Uleu
A maid:  Doina Urlăţeanu, Anca Miere Chirilă
Marcello Mariani:  George Pintilescu

Technical director: Elena Varlam
Prompter: Agy Segărceanu

Performance for children and youth by Ion Lucian and Virgil Puicea

Artistic direction: Corneliu Zdrehuş
Scenography: Maria Haţeganu
Incidental music: Nicolae Teodoru
Musical direction: Mihai Vasilescu
Premiere date: January 21, 1967

The children's coupé show "His Donkey's Musketeers", consisting of "The Disobedient Rooster" and "His Donkey's Musketeers", combines educational goals with artistic delight. In "The Disobedient Rooster", a series of actions with an educational message are linked: it is necessary to be obedient, to wash yourself in the morning with cold water, not to forget gymnastics, etc., encouraging friendship, honesty, courage. The second part, with a fable aspect, takes place in a forest where the Bear, the Cat and the Rooster live in harmony in the same house. The Raven, the forest postman, brings them terrible news: the Donkey, a stupid and evil king, surrounded by villainous courtiers, has ascended the throne of the king of the forest, usually occupied by the lion. The three decide to become musketeers and infiltrate the Donkey's guard through a ruse to bring justice. True and brave friends, they overcome all obstacles and restore justice to the forest. The Nightingale, a symbol of freedom, has been imprisoned, but she is saved and in her place, in the dungeon, the usurpers, the Donkey, the Fox and the Wolf, enter.

Distribution:

The rooster:  Ana Popa
The kitten:  Nicolae Barosan
The little bear:  Grig Schiţcu
The fox:  Jean Sandulescu
The Fox and Little Ears:  Marina Maican Velcescu
Paw:  Matilda Vitcu
Tail:  Marina Marinescu Kanya
The Raven:  John Martin
The Nightingale:  Tita Martonfi
His donkey:  John the Baptist
The wolf:  Ion Abrudan
Owl:  Anca Miere Chirilă

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala

Play in two parts (10 paintings) by Paul Everac

Artistic direction: Valeriu Grama
Scenography:  sandals Nagy
Premiere date: November 23, 1966

Due to the multitude of issues raised and their subtlety, the play "Simple coincidences" has been associated with the dramaturgy of ideas or "problems" (Radu Penciulescu). The play does not aim to describe a social landscape, there are no theatrical coups and a well-connected plot; the strongest conflicts take place in consciousness. The play consists of presenting parallel existences that provide the opportunity for a detailed analysis of several conceptions of life. The trade union activist Emil Vlăsceanu, an infallible bearer of proletarian morality, discovers surprises in life and even in his own family for which he cannot find an immediate solution. The engineer Gheorghe Buzura, who believes that everything can be solved through administrative measures, wastes all his energy on small deeds, but is overwhelmed by the difficulty of studying dialectics. Grandfather Florică Predoiu is a scoundrel with an extraordinary fund of humanity, in which the image of the old man from the periphery contrasts with his extensive culture.

The schematic opposition between the heroes is abandoned: good and evil, new and old, reason and absurdity often inexplicably intertwine in the same plane of consciousness. However, they are all moved by the same force: "The main character of my play is the need to grow. It represents the meaning of our life." (Paul Everac)

Distribution:

Emil Vlasceanu:  George Pintilescu
Teodora Vlasceanu:  Viorica Cernucan
Sorin Vlasceanu:  Mihai Velcescu, Nicolae Barosan 
Daniela Buzura:  Marina Maican Velcescu
George Buzura:  Marcel Segărceanu
Cecilia Epure:  Simona Constantinescu, Olimpia Tomorrow
Danila Coman:  Jean Sandulescu
Santa Florica Predoiu:  Nicholas Thomas 
Vicki Miclescu:  Ion Abrudan
Mia Caraman:  Ana Popa
Agrippina:  Anca Miere Chirilă

Technical director: Elena Varlam
Prompter: Sofica Spoiala
Musical illustration: Dorel Olea

Historical play in three acts, with a prologue and epilogue by Dan Tărchilă

Artistic director: Ion Deloreanu
Scenography: Maria Haţeganu
Music: Timuş Alexandrescu
Premiere date: September 24, 1966

Dan Tărchilă's play does not aim to reconstruct the archival era of Mircea the Elder, avoiding to present a series of disparate scenes encompassing the important moments of this reign. The author focuses his attention on a single moment: the consolidation of the independence conquered by Wallachia, ensuring the peace necessary for prosperity: "We need the peace of this land - says Mircea. To be able to reap what we have sown, to be able to grind what we have harvested, to eat in peace what we have ground." The emphasis falls on Mircea's qualities as a politician and diplomat, which he tries to make use of before his military ones. Not accepting the middle position between the Crescent and Christianity, the Romanian ruler seeks new ways of defense through diplomatic skill. His efforts have temporary success and, significantly, the play ends with a new battle that Mircea's army fights to defend the country, suggesting the countless battles that will follow throughout history.

Distribution:

Mircea:  Nicolae Toma, Eugen Tugulea
Mara:  Alla Tautu
Arina:  Gina Nicolae
Mikhail:  Nicolae Barosan
Visa:  Viorica Cernucan
Vilcu:  Marcel Segărceanu
Sin:  George Pintilescu
Radu:  John the Baptist
Romanian:  Valentin Avrigeanu
Vlad:  Ion Abrudan
Sophrony:  Constantin Simionescu
Father Francis:  Vladimir Jurascu, Gheorghe Musceleanu
The monk:  John Martin
Musa Celebi:  Jean Sandulescu 
The blacksmith:  Grig Schiţcu
The Cuckoo Shepherd:  Octavian Uleu

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu

by Irvin Shaw
Translation: Anca Livescu and Emil Constantinescu
National premiere

Artistic direction: Corneliu Zdrehuş
Scenography:  sandals Nagy
Premiere date: May 15, 1966

Considered by some critics as an anti-fascist piece, "Blackmail" can be understood as a symbolic play, set in the world of ordinary people in America. Jonah Goodman and Philip Anagnos are simple fishermen, whose entire existence has been limited to going out to sea, in the waters near Brooklyn, to fish. They place all their hopes for a better existence in buying a boat with which they can go fishing in peace. Their idyllic life is disturbed by Harold Goff, a gangster who asks them for protection money: five dollars a week to protect them from pirates. Goff also covets the money the two have saved for the boat, and even Goodman's daughter. When even justice embodied by an old judge does not help them, the two realize that the gangster will not back down from anything and decide to take justice themselves. They take Goff on a boat ride from which he will never return.

Irwin Shaw titled his play "The Brooklyn Fable," adding the following comment: "Justice triumphs and the weak are victorious against arrogant and violent men. The author does not claim that things are the same in real life."„

Distribution:

Jonas Goodman:  Dorel Urlățeanu, emeritus artist
Philip Anagnos:  Nicholas Thomas
Harold Goof:  Jean Sandulescu
Magruder:  Vladimir Jurascu
Stella Goodman:  Viorica Cernucan
Eli Liber:  Boris Petroff 
Florence Goodman:  Maud Mary
Angelina Esposito:  Lili Mihailescu Vladimir
The judge:  Marcel Segărceanu
Lamanowitz:  Misu Vladimir
Flaherty:  Ion Abrudan

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

Comedy in three acts by Tudor Muşatescu

Artistic direction: Valeriu Grama
Scenography: Maria Haţeganu
Incidental music: Mişu Dragoi
Premiere date: March 5, 1966

Through an intertextual game, Tudor Muşatescu takes over the title of the famous Shakespearean play, to outline a captivating and idealized love story. „A Winter’s Night’s Dream” is the dream of a poor young girl, Maria (nicknamed Doruleţ), a saleswoman at a jewelry store. The value of the play lies in Maria’s human realization, in her desire to escape from the daily monotony of a barely secure existence. This ascension would be equivalent to spiritual liberation for her. Maria’s spiritual process is doubled by the dream of the writer Alexandru Manea. Tired of the life he leads, of his relationships with the „big world”, Manea has, through Maria, the revelation of true, authentic life, based not on interest, but on sincere and mutual love. At the end of the night and the play, the dreamlike visions of the characters „die” to be born in reality, as concrete fulfillments.

Distribution:

Alexandru Manea:  Vladimir Jurascu
Gogu Panait:  Valentin Avrigeanu
Milica:  John Abrudan
Manole:  Marcel Segărceanu
Baby Cristian:  Frigyes Palóczy
Maria Panait:  Viorica Cernucan
Natalia:  Lili Mihailescu Vladimir
Slot:  Doina Urlățeanu 
Elvira:  Simona Constantinescu

Technical director: Elena Varlam
Prompter: Agy Segărceanu

by AJCronin
Translation: Silvia Cucu
National premiere

Artistic direction: Corneliu Zdrehuş
Decor:  sandals Nagy  and Tatiana Manolescu Oil
Costumes: Tatiana Manolescu Uleu
Premiere date: February 4, 1966

The action of the play "Jupiter is Amused" takes place in England at the beginning of the 20th century and addresses the moral condition of the intellectual in a society that does not always understand him or is favorable to him. Doctor Venner, a man with great intellectual resources and passionate about his profession, wants to continue his research into a very important medical problem. To succeed, he has to fight with the management and most of the staff of a private sanatorium. The confrontation between the camps is dramatic and uncompromising, signifying the opposition between the generosity and humanism of the scientist and the rapacity, the mercantilistism of those who want to transform science and its discoveries into a profitable industry and a way of making a living.

The heroes begin their evolution firmly in their conceptions, to gradually change along the way, as if abandoning masks. Doctor Venner, blasé, cynical and misogynistic at first, later proves capable of great sensitivities and passionate love. Mary Murray, who has a missionary duty to fulfill in the Far East, abandons her calling to remain with the man she loves with a very earthly love. Old Doctor Drewett, hides under the mask of indifference and selfishness a warm soul, capable of deep attachment.

The value of the play lies in its human, tonic and optimistic meanings. The show is constructed as a scenic dialogue of ideas, of life and professional conceptions, as a struggle of the characters through attitudes and beliefs, as an intellectual conflict in a world of intellectuals.

Distribution:

Edgar Bragg:  Jean Sandulescu
Gladys Bragg:  Simona Constantinescu
Paul Venner:  Vasile Constantinescu
Richard Drewett:  Dorel Urlățeanu 
George Thorogood:  Frigid Palóczy  
Mary Murray:  Gina Nicolae
Fanny Leeming:  Alla Tautu
Jenny:  Ana Popa
Albert Chivers:  John the Baptist
Martha Foster:  Anca Miere Chirilă

Technical director: Elena Varlam
Prompter: Sofica Spoiala

Comedy in three acts by Al Kiriţescu

Artistic direction: Valeriu Grama
Scenography: Eliza Popescu
Premiere date: December 8, 1965

The comedy "The Hawks" is part of the so-called "Bourgeois Trilogy" by Alexandru Kirițescu and depicts, throughout the three acts, the avatars of the Duduleanu clan, embodied by the three "hawks" (Aneta, Zoia and Lena), as well as the next generation. The very brief plot is outlined by the advances that Wanda Serafim makes to conquer Mircea, Margareta Aldea's husband. Miserly, rapacious, the three old women give the impression that they could live as long as the world. The death of Margareta, daughter and granddaughter who committed suicide with laudanum does not shake their appetite, nor the pleasure of gossiping endlessly, playing cards and tactically drinking coffee.

The focus of the work, however, lies in sketching the cruel face of the provincial world. The rhythm of the play is born outside any evolutionary line from the permanent tension of the dialogue, from the gratuitous display of malice, from the provocation, the abruptness and the irritation of the discussion partner. All the characters are (and label each other) "mad", "exalted" and "monsters" in an atmosphere of general ferocity, in which each wants the other's "life, body, breath, all the blood of the heart". As Ion Vartic (Analytical Dictionary of Romanian Literary Works) states, "deceiving through their realistic appearances, the characters, in their mechanical, played, simulated furies, in reality resemble Jarry's Ubuştî creatures". The comedy "Gaițele" thus becomes one of the most modern Romanian theatrical experiences.

Distribution:

Aneta Duduleanu:  Maud Mary
Wanda Seraphim:  Simona Constantinescu
Margareta Aldea:  Viorica Cernucan
Colette Duduleanu:  Doina Urlățeanu
Miss:  Alla Tautu
Lena:  Anca Miere Chirilă
Zoya:  Lili Mihailescu Vladimir 
Zamfira:  Ana Popa
Mircea Aldea:  Vladimir Jurascu
Georges Duduleanu:  Constantin Simionescu
Ianache Duduleanu:  Misu Vladimir

Technical director: Dalma Simionescu
Sound: Dorel Olea

Historical drama in three acts by Octav Dessila

Artistic director: Ion Deloreanu
Scenography: Eliza Popescu
Premiere date: November 20, 1965

„"Mihai Viteazul. Călugăreni" continued the program, for a time unique in the Romanian theatrical landscape, of cultivating the historical play. "Călugăreni" is part of the "Mihai Viteazul" trilogy, followed by "Atotbiruitorul" and "Turda". The focus on the historical figure of the Romanian ruler is explained by the author Octav Dessila as follows: "The most representative Romanian figure was missing from the local dramaturgy... Călugăreni, in the historical stock market of universal values, is equivalent to Thermopylae, to Austerlitz. All battles concluding historical phases." Benefiting from a very large cast, the play captures the events that took place before the Battle of Călugăreni, the famous battle and the strategic retreat of Michael the Brave after the victory.

Distribution:

Michael the Brave:  Eugen Tugulea
The great logophate Udrea:  George Pintilescu
Negrea backrest:  Octavian Uleu
Theodosius the Elder:  Vasile Constantinescu
Theodosius the son of the Logophate:  Ion Abrudan
General Baba Novac:  Vladimir Jurascu
Grand Commissar Calomfirescu:  Carol Lavott 
Stroe Buzescu:  Corneliu Zdrehus
Radu Buzescu:  Marcel Segărceanu
Preda Buzescu:  Andrei Dálnoky
Metropolitan Eftimie:  Constantin Simionescu
Bishop Luke:  Misu Vladimir
Captain Cocea:  Valentin Avrigeanu
Aga Farcas:  John the Baptist
Captain Mârzea:  Boris Petroff
Captain Racea:  John Martin
The postman Andrei:  Grig Schiţcu
The Bozdaga Storekeeper:  Nicholas Thomas
The Logofatul Andrei:  Frigyes Palóczy 
Treasurer Dan:  Jean Sandulescu
Peasant Toader:  Constantin Simionescu
Hodgea Ali Gean:    Ferenc Belényi
Captain Király:  Joseph Gabor
Balthazar Walter:  Beam Baggy
Captain Theil:  Gyula Halasi
Sinan Pasha:  Dorel Urlățeanu
Mehmed Bey:  Erno Gall
Hussein Pasha:  Laszlo Földes
Tent officer:  Alexander Toth
Sanni the Cypriot:  István Mogyoróssy
Mrs. Stanca:  Simona Constantinescu
The maid Sima:  Viorica Cernucan
Mrs. Tudora mother:  Lili Mihailescu Vladimir
Tudora:  Gina Nicolae
Radar:  Maud Mary
Niculăita:  Ana Popa
Woman I:  Alla Tautu
Woman II:   Doina Urlățeanu
Woman III:  Anca Miere Chirilă
Woman IV: Annamária Biluska
Woman V:  Magda Papp
The Logophate Caesar:  Gulácsy Adalbert
The Calota coin:  Imre Radai
Geafer Pasha:  Tolnai Tank Laszlo
Hassan Pasha:  Carol Orban
Satargi Pasha:  Merry Christmas

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu
Musical illustration and sound design: Dorel Olea

Dramatic comedy in three acts by Virgil Stoenescu

Artistic director: Ion Deloreanu
Scenography: Tatiana Manolescu Uleu
Premiere date: September 25, 1965

„"One Wrong Move" is about the formation of young people's consciousness, character development and the enrichment of their spiritual background in the conditions offered by existence in socialism. Marin is a young worker who carries a great pain in his soul. Once, at Manometru, something happened to him, probably an accident, as a result of which he suffered, being considered a coward or a hooligan. He now has the impression that everyone looks at him with contempt, considers him incompetent and wants to give him lessons in order to re-educate him. In addition to this pain, Marin also has a secret - an innovation. He firmly believes that patenting this invention will patent his entry into life with dignity, will ensure his human fulfillment and will bring him love. But Marin cannot bring the invention he has placed all his hopes in to fruition because he does not know mathematics. His roommate, Mitruţ, solves all his calculations in secret, then leaves, finding out that Marin loves his fellow engineer, whom he also loves. However, she doesn't know how to choose between the two without making either of them suffer. Then, she offers Mitruţ her love and Marin her invention, fighting to make his idea a concern for the entire factory team.

Distribution:

Marine:  George Pintilescu
Dear:  Boris Petroff
Mitrut:  John Martin 
Irina:  Simona Constantinescu
Valley:  Mia Popescu
Parent:  Lili Mihailescu Vladimir
Foreman/Mr. Parvu:  Valentin Avrigeanu

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

by Arthur Miller
Translation: Sica Alexandrescu and Aurel Vasilescu

Artistic direction: Valeriu Grama
Scenography: Romulus Peneş
Musical illustration: engineer Lucian Ionescu (Romanian Radio and Television Bucharest)
Premiere date: June 4, 1965

Inspired by a real case, the play "View from the Bridge" depicts a process of conscience through the tragedy of the fate of Eddie Carbone, a longshoreman from Brooklyn. In the house where he lives with his wife, Beatrice, and their niece, Catherine, two clandestine Italian immigrants, cousins of Beatrice, are welcomed. A love story develops between Catherine and Rodolfo (one of the immigrants), to the despair of Eddie, who is also consumed by a semi-incestuous love for his niece. However, he does not reveal this forbidden love not so much to hide from others as to mystify himself. The passion for Catherine is the source of the tragedy and the end of the hero. Lost, he denounces the clandestine presence of the two Italians to the Federal Bureau of Immigration. Revealed as a traitor, Eddie loses the respect of his neighbors, friends, and family. In a typical Mediterranean vendetta ending, Marco, the other immigrant, kills him in a street fight. In a later rewritten version, the author resolves the conflict by Eddie committing suicide; the Oradea production takes up this last variant to enhance the psychological conflict and the dramatic message of the play.

Distribution:

Louis:  Ion Abrudan
Mike:  Marcel Segărceanu
Alfieri:  George Pintilescu
Eddie:  Vasile Constantinescu
Catherine:  Marilena Black
Beatrice:  Olga the Serb
Mark:  Eugen Tugulea
Rodolfo:  Boris Petroff, Ion Martin
The officer:  Jean Sandulescu

Technical director: Elena Varlam
Prompter: Agy Segărceanu
Lights: Alexandru Tóth
Sound: Dorel Olea

Operetta recital

Artistic director: Ladislau Gróf
Set design: Sandor Nagy
Costumes: Marianca Ţicoan-Jancsó
Musical direction: Zoltán Matolcsi
Choreography: Eva Ombódi
Premiere date: May 15, 1965

Interpreters:

Rozalia Anghi
Francisc Belényi
Doina Ioja
Carmen Marinescu
John Martin
Anca Miere Chirilă
Frigyes Palóczy
Magda Papp
John the Baptist 
Boris Petroff
Mia Popescu
Jean Sandulescu 
Zsuzsa Szokolai
Constantin Simionescu
László Tolnai Tank

Comedy in five acts by Ben Jonson
Translation: Mihnea Gheorghiu

Artistic director: Ion Deloreanu
Scenography: Alexandru Olian
Musical illustration: Miron Raţiu, conductor at the Oradea State Philharmonic
Choreography: Eva Ombódi
Premiere date: April 4, 1965

The plot of the play "Volpone" is based on the ancient theme of the chase for inheritance. Volpone, magnifico from Venice, the fabulous city of luxury, but also of all vices, collects treasures and riches from the gifts that his flatterers give him daily, in the hope of winning his sympathy and, implicitly, his fortune, after death. Helped by his parasite, Mosca, Volpone pretends to be terminally ill, when in reality he is in full physical strength, capable of scheming and intrigue. For him, money is an "idol" on the altar.

The main claimants to the inheritance are the lawyer Voltore, the old man Corbaccio and the merchant Corvino. Desiring Celia, Corvino's wife, Volpone hatches a plan to have her. Mosca goes to Corvino's house and claims that a council of doctors has recommended the bed company of a beautiful woman to his ailing master. Always thinking about the inheritance, Corvino is ready to commit cuckoldry willingly and takes his wife to Volpone's house. Celia defends her honor at all costs, and the situation is saved at the last moment by Bonario, Corbaccio's son.

The climax of the play is reached when Volpone stages his own death, in order to observe the reactions of those who coveted his wealth. In a dramatic move, Volpone designates Mosca as the sole heir, who, by the way, fits the role of the newly rich man very well. To laugh even more at the fools, Volpone disguises himself as commander and madly enrages the three disinherited: Voltore, Corbaccio and Corvino.

A brief moment of sincerity by Voltore in the Senate House unravels all the threads. When Mosca refuses to help his master any longer, he exposes himself, throwing off the travesty. Justice triumphs, as in the moralizing fables whose imprint is visible throughout the play: the guilty (Voltore, Corbaccio, Corvino) are punished, the innocent (Celia, Bonario) are served justice; Mosca is condemned to be flogged and sent to the galleys for life, and Volpone is imprisoned until he dies of the diseases he has simulated, because, as he himself admits, "this is what happens to the voracious fox.".

Distribution:

Volpone:  John the Baptist
Fly:  Jean Sandulescu
Voltor:  Ilie Iliescu
Corbaccio:  Constantin Simionescu
Corvinus:  Octavian Uleu
Bonario:  George Pintilescu
Sir Polithik:  Nicholas Thomas
Peregrine:  Ion Abrudan
Jude I:  Valentin Avrigeanu, Ion Martin
Judges II:  Valeriu Grama
Jude III:  Boris Petroff
Jude IV:  Marcel Segărceanu
Lady Polithik:  Alla Tautu
Celia:  Olga the Serb
Maid I:  Mia Popescu
Maid II:  Doina Ioja

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

Comedy in three acts by Tudor Muşatescu

Directed by: Dorel Urlăţeanu
Scenography: François Pamfil
Premiere date: January 15, 1965

The comedy "…Escu" resumes part of the gallery of characters that populate the famous play "Titanic Waltz": Decebal Necșulescu, the youngest son of Spirache, strives to reach the Government, like his father, using the successive move from one party to another as a political strategy. Unlike his father, who looks at the electoral mechanism with coldness and distance, Decebal is integrated into the political life of Bucharest of his own free will, he gladly plunges into the whirlpool of confrontations, without sparing any effort to become a deputy, even a minister. When he is beaten by mistake, he understands with the help of Nina Damian (his secret lover) that a man victimized for his ideas has a great chance of getting where he wants to go. This is where the title of the play comes from: when Nina accuses him of being "a random, ambitious and arivist "Escu", who has been through all the parties, been immersed in all the doctrines and entered parliament by mistake", Decebal retaliates, making this appellation almost an honorary title: "I live in a huge family of "Eşti": "Popești", "Vasilești", "Ionești", "Dumitrești", "Georgești", "Necțulești" and other "Eşti" kept without bread by the political mores of an eminently agricultural country (...) I am not interested in the means by which I got there and I want to get there!... I only know that within me I feel the unclear call of greatness, and this is the strength that helps me to overcome all obstacles, to overcome all difficulties." However, the author insists on the positive spiritual reserves of the hero, who "has established himself and created immense popularity, precisely through an unparalleled integrity and outrageous honesty". These qualities do not apply to his family life, which seems on the verge of disintegration: while Decebal is Nina's lover, her husband, Bébé, insistently courts Amélie, Decebal's wife, even trying to direct amorous encounters for him in order to convince Amélie to give in to him. In the end, Amélie appears as the character who is most in control of the situation, the owner of all the threads of the plot and the one who masterfully unfolds them. The dramatic coup that concludes the play depicts the fall of the government on the very evening when Decebal celebrates his appointment as minister and his decision to establish his own party - a national liberal-peasant one.

Distribution:

Decebal Sp Necsulescu:  George Pintilescu
George Langada:  Misu Vladimir
Traian Necsulescu:  Vasile Constantinescu
General Stamatescu:  Constantin Simionescu
Platon Stamatescu:  Valeriu Grama
Baby Damian:  Jean Sandulescu
Amelie:  Doina Urlățeanu
General Stamatescu's stake:  Lili Mihailescu Vladimir
Nina Damian:  Mia Popescu
A commissioner:  Grig Schiţcu
Fans:  Valentin Avrigeanu
Pashlica:  Octavian Uleu
Myths:  Ana Popa, Anamaria Biluska, Olga Sîrbul
Manole:  John Martin
Anna:  Anca Miere Chirilă
First voter:  Eugen Tugulea
Second voter:  Ilie Iliescu

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala
Sound: Dorel Olea