Play in three acts, six scenes by Nicolae Damaschin

Artistic director: Ion Deloreanu
Decorations:  sandals Nagy
Premiere date: April 1, 1962

The play takes place in the "Steaua" Collective Farm, where agronomist engineer Titi Spinuș prevents the farm from achieving rich harvests, at its true potential, through a lax attitude, his favorite expression being "this problem is not urgent".

He is opposed by Mioara, a competent and dedicated animal technician, and Ioana, the daughter of the president of the household. Energetic, sharp, ambitious and full of initiative, a true "girl devil", she does not even spare her parents, forcing them to severely self-criticize themselves and to fulfill their workday quota without deviations. She also obtains a record corn harvest from the hectare that falls to her from the GAC, secretly applying the production methods recommended by the agronomist engineer Dan Răchitan from Bucharest. At the same time, he is the lover of Ana, Ioana's older sister, a young doctor in the village.

Presented in an idealized manner, typical of socialist realism, are the struggles of the collectivists to find and apply the best methods of cultivating plants and raising animals, their competition with the "Drum nou" collective, the highlighting of the leading peasants (Mitiță and Vasile Ponosu), and the abundant life that the new way of organizing agriculture offers them.

The play ends with the arrival of engineer Răchitan in the village, convinced that effective agronomic studies can only be achieved through direct contact with reality; his arrival is a new promise for consolidating the smooth running of the collective farm.

Distribution:

Ion Caus:  Octavian Uleu
Sultana:   Lili Mihailescu
Anna:  Simona Constantinescu
Joanna:  Anca Rosu, Sofica Albu
Avram Luncan:  Marcel Segărceanu
Radu:  Ion Abrudan
Titi Spinus:  Grig Schiţcu
Emilia:  Anca Miere Chirilă
Mioara Brîndus:  Doina Ioja Vasiu
Mitita Scurtu:  Valentin Avrigeanu
Vasile Ponosu:  Nicholas Thomas
Dan Răchitan:  Ilie Iliescu
A little girl:  Alina Vasilescu

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu

Comedy in two parts by Vadim Korostiliev
Translation: Horia Deleanu and Irina Popescu

Artistic director: Dorel Urlăţeanu
Scenography: Tatiana Manolescu Uleu
Incidental music: Iuliu Kavassi
Premiere date: March 31, 1962

In the magazine "Teatrul", no. 1/962, Al. Popovici observes that the play "Cred în tine" borrows the conventions of a fairy tale, transforming the heroine of the play into a Cinderella and a banal accountant into a wizard capable of operating profound changes in people and in their way of seeing each other.

A young husband immediately after marriage becomes a bored, grumpy person, and Irina's qualities and charm cease to interest him. Appealing primarily to faith in his fellow man, the sorcerer friend will transform Irina with the help of a simple ball gown. Representative of poetry, of aesthetic harmony, he invites others to dream, as to a natural fact of existence. Thus, the neglected wife again becomes for her husband the embodiment of beauty, of creative aspirations. However, Irina does not change, but the perspective of her husband, indifferent until then to immediate truths, more attracted to astral radiance than to the close ones.

As the author Vadim Korostiliov states in the program of the show, the play "I Believe in You" "is neither a fairy tale nor a reality. Rather, it is both. Miracles often happen in life, but we don't see them. And when you see them, you can tell how a man like another became wonderful, just because he believed in him, because he believed that he was truly wonderful."„

Distribution:

Irina:  Genoveva Matici
Sergey:  Liviu Martinus
Vladimir:  George Pintilescu

Prompter: Sofica Spoiala
Sound engineer: Ştefan Bartos

Tonic comedy in six scenes by Radu Cosaşu

Artistic direction and set design: Andrei Brădeanu
Costumes: Eliza Popescu
Premiere date: February 3, 1962

Situated on the border between reportage and dramatic text, the play "It Seems Romantic..." starts from a brief, ingrained conflict: Dinu Constantin, a turner on his way to engineering, is tempted to ask for an intervention (which, in fact, he does not need) from the secretary of the City Party Committee. The pretext of the play is, therefore, the fight against the "pile" system, of mutual aid societies based on interest. The conflict is really an aspect of the fight against the old (symbolized by vulgarity, bad taste and small everyday cowardices) and the proclamation of the new in the consciousness of the socialist man - embodied by the evening school teacher or the militiaman passionate about history and geography. In this atmosphere of youth, sincerity and optimism lies the true romanticism sought by the play, not in the outdated romanticism of Miss Lilly from the jukebox restaurant or the cashier who sighs over the pages of the novel "Red and Black." The play aims to capture the process of transformation, of shattering the old both socially and within each individual.

Distribution:

Dinu:  Gheorghe V. Gheorghe, Ion Abrudan
Simina Ionita:  Sofia Albu
Dorobantu:  Liviu Martinus
Marcu Fuiorescu:  Dorel Urlățeanu
George Isaia:  John the Baptist
Maria Cernea:  Genoveva Matici
Lilly Gigea:  Anca Rosu
Mrs. Gigea:  Lili Mihailescu
Mircea:  Constantin Simionescu
Ignatius:  John Martin
Militiaman:  Marcel Segărceanu
The waiter:  Grig Schiţcu
Reporter:  Radu Reisel
Cashier:  Doina Ioja Vasiu
The janitor: Stefan Szabo

Prompter: Agy Segărceanu
Sound: István Bartos

Comedy in three acts by Andrei Uspenski
Translation: Sonia Filip

Artistic direction: Valeriu Grama
Decor: Nagy Sándor
Costumes: Eliza Popescu
Premiere date: December 16, 1961

The main heroine of the play "The Girl with Freckles", Glasha Ivanovna, has recently finished her studies and, instead of leaving for the Siberian taiga with the Komsomol brigade to which she belongs, she stays in Moscow and gets involved in the control team of the new apartment blocks put into use. In Moscow she meets Alexei, whom she truly loves and with whom she understands how to forge her happiness. The moments of affirmation and fulfillment of this love give rise to pages of emotional lyrical vibration. The conflict of the play is not limited to a simple love story, however. Glasha's team in the taiga tends to consider her a deserter who has sought a better life. Her husband Alexei is tempted to see a whim in the insistence with which she stands up against the engineer Ivan Stepanovich Rubtsov, a skilled builder but less attentive to the quality of the works.

The freckle-faced girl does not perform heroic deeds and her struggle has no serious or rhetorical accents. Her actions are simple, and her gestures acquire symbolic value in a warm, enthusiastic and authentic comedy.

Distribution:

Alexei:  George Pintilescu
Roscina:  Lili Mihailescu
Rubtsov:  Octavian Uleu
Voice:  Anca Rosu
Zoya:  Simona Constantinescu
Misha:  John Martin

Prompter: Sofica Spoiala

Play in two parts by J.B. Priestley
Translation: Petre Comarnescu

Artistic director: Dorel Urlăţeanu
Scenography: Tatiana Manolescu Uleu
Music: Remus Georgescu
Premiere date: November 25, 1961

The play "The Police Inspector" was interpreted as a parable of the disintegration of the values of Victorian English society, preceding the First World War, an expression of the author's socialist political principles.

The three-act play takes place over a single night in the Birling family home in an English industrial town. The engagement party of daughter Sheila and Gerald is interrupted by the visit of Inspector Goole, who questions all the family members about the suicide of a working-class girl. Gradually, through shocking confessions that will destroy family trust and relationships, the investigation reveals that everyone present contributed directly or indirectly to the death of young Eva Smith. Birling father fired her from his company following a strike. Sheila – the daughter – forced her dismissal from a shop; Gerald made her his mistress for a while, then left her; Eric – the son - also had her as a mistress, leaving her pregnant. When Eva Smith turned to a charitable society for help, Mrs. Birling refused. This is how the symbolic value of the character Eva Smith is built, representing the simple person over whom the all-powerful society passes over without scruples, crushing their happiness, dignity and life.

Inspector Goole's final speech conveys the entire ideological message of the play, reminding everyone that they are members of one society, that their actions have consequences, and that they are responsible for the fate of their neighbor. If people do not learn this lesson, it will degenerate into blood, fire, and horror (a grim prophecy of the outbreak of World War I).

Distribution:

Arthur Birling:  Ricardo Colbert
Sybill Birling:  Maud Mary
Sheila Birling:  Sofica Albu Cupsa
Eric Birling:  Jean Sandulescu
Gerald Croft:  Ilie Iliescu
Inspector Gool:  Dorel Urlățeanu
Edna:  Doina Ioja Vasiu

Prompter: Agy Segărceanu

by Radu Tenzulescu

Artistic director: Dorel Urlăţeanu
Decor: Nagy Sándor
Costumes: Eliza Popescu
Premiere date: November 9, 1961

Distribution:

Cyril:  Liviu Martinus
Oana:  Simona Constantinescu
Doina:  Doina Vasiu
Teacher:  Sofia Albu
Ifrim:  Grig Schiţcu

Comedy in three acts by Mihail Sebastian

Artistic director: Ion Deloreanu
Decor: Valeriu Moisescu
Costumes: Eliza Popescu
Premiere date: October 1, 1961

The plot of the play "Ultima ora" captures an episode that seems minor, but capable of overturning an entire established order in the interwar Bucharest society. The newspaper of public information, politics and scandal "Desțeptarea" one day publishes the article "Alexandru cel Mare în Media" by history professor Alexandru Andronic, in which informed persons recognize a veiled attack on the great industrialist Grigore Bucșan, with references to strictly secret and perhaps not the most honest affairs. Both the director of the newspaper and the industrialist visit Andronic, otherwise an anonymous figure in the social world, each pursuing a personal goal: the first to bring him closer as a collaborator, since he is, by no one knows by what means, the possessor of such valuable information; the second, to counteract the following attacks and revelations in the press, by offering the scholar a significant sum of money. Andronic refuses both; Bucșan devises various stratagems to sabotage the scholar, reaching the highest forums and ministries. The saving solution for all comes from Magda, a student fascinated by the personality of Alexander the Great and a little in love with her professor; she convinces Bucșan to provide the necessary funds for a three-year study trip to Asia, following in the footsteps of the great ancient ruler, for the scholar and for herself, as well as the creation of an Association for the Encouragement of Ancient History Studies, with Alexandru Andronic as president of the board of directors.

The flavor, charm and comic of the play consist in the fact that the entire situation is created and resolved without Professor Andronic having any real or conscious involvement. His article appears in "The Awakening" through a typographical error, which should have published it in the "Revista de istorie antică", and the proper names that allude to the industrialist's secret affairs are simple typographical errors, which transform Prophtasia into Protar and Kabul into Charun. Alexandru Andronic remains innocent and totally outside the conflict from beginning to end, a powerful symbol of spiritual wealth and the fascination of knowledge.

Distribution:

Professor Andronicus:  Eugen Tugulea
Grigore Bucsan:  Ricardo Colbert
IDBorcea:  Misu Vladimir
Stefanescu:  Valentin Avrigeanu
Voice:  Jean Sandulescu
Pompilian:  George V. George
Branescu:  John the Baptist
Agopian:  Constantin Simionescu
Hubert:  Nicolae Toma, Ion Abrudan
Thread:  Valeriu Grama
A boy with coffee:  Radu Reisel 
Magda Minu:  Oana Diamandi
Gabi:  Geta Iancu
Anna:  Lili Mihailescu
Miss Werner:  Doina Urlățeanu

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala

Comedy in five acts by Beaumarchais
Translation: I.Stroescu and Anda Boldur

Artistic director: Dan Alecsandrescu
Scenography: Eliza Popescu
Premiere date: July 14, 1961

The most famous play in the trilogy created by Beaumarchais at the end of the 18th century, "The Marriage of Figaro", unfolds at a brisk pace the new adventures of the scoundrel Figaro, a character who had made his entrance on the literary scene through the comedy "The Barber of Seville", more than ten years earlier.

Figaro, Count Almaviva's valet, wants to marry Suzane, Countess Almaviva's first maid. The Count, who is not indifferent to the young maid's daughter-in-law and claims his "right as a lord", seeks to prevent this marriage with the help of Marceline, who tries to force Figaro to marry her in exchange for old debts. Cherubin, the Count's page, a teenager in the early stages of sentimental love, courts Fanchette, the gardener's daughter, but at the same time is interested in Countess Almaviva herself. She learns that her husband tried to seduce Suzane and devises a plan of revenge.

On this canvas of sentimental intrigue, the French playwright imagines an entire avalanche of tricks, transvestites, confusions, anonymous notes and crossed meetings so that, at a certain point, the Count strives to seduce his own wife, while Figaro believes himself deceived from the first day of their marriage.

In the end, all the confusions are cleared up, and Figaro discovers his true parents in the persons of Marcelline and Bartholo. Everyone is finally reconciled with everyone else, and even if the reconciliation is a formal one, the play ends with a cheerful vaudeville of the nuptial ceremony.

Distribution:

Count Almaviva:  Ricardo Colbert
Countess:  Simona Constantinescu
Figaro:  Jean Sandulescu
Susanne:  Geta Iancu, Sofica Albu
Marceline:  Maud Mary
Antonio:  Constantin Adamovici, Valentin Avrigeanu
Fanchette:  Doina Ioja Vasiu
Cherub:  Oana Diamandi
Bartholomew:  John the Baptist
Bases:  Constantin Simionescu
Don Gusman Brid'Oison:  Marcel Segărceanu
Double Main:  George V. George
The product:  Gheorghe Angheluta
A young shepherdess:  Anca Miere Chirilă
Pedrille:  Gelu Ivascu, Grig Schitcu

Technical director: Dalma Simionescu
Prompter: Elena Varlam Pintilescu

Play in two parts by Alexei Arbuzov
Translation: Emma Beniuc

Artistic director: Valeriu Moisescu
Decor: arch. Paul Bortnovschi
Costumes: Lidia Bortnovschi
Music: Lev Solin
Choreography: Tóth Kovács Ilona
Premiere date: May 14, 1961

Subtitled "a play about people and events from the mid-20th century", "The Tale of Irkutsk" falls within the Soviet playwright's concerns to define communist consciousness and to render the social reality contemporary to him in the USSR. The play combines the modalities of ancient theater (chorus interventions) and the means of modern theater, giving rise to a dramatic construction that is not lacking in lyricism and emotion.

The heroes of the play are young members of the construction team of the hydroelectric power plant on the Angara River in Siberia. An important place in the play is occupied by the rivalry between Victor and Sergei. The conflict between them is not limited to the love rivalry to win the love of Valia, a cashier at a grocery store; in their relationship two distinct life principles collide, hence the different approach to love: for Victor, Valia is more of a fun partner, so their relationship lacks depth. On the contrary, Sergei sees Valia's potential, her good side, beyond the apparent superficiality and frivolity. He firmly believes that his love full of trust and responsibility will transform her, which ensures Valia's sincere, mature love. The two get married and have twins, Fedya and Lenochika, but their happiness is ephemeral. Going swimming on a hot summer day, Sergei drowns, saving two children from death, thus dying as a hero. The team leader and Sergei's colleagues demonstrate extraordinary solidarity with the widow Valya, whose life has become so desolate: for a while, they offer Sergei's salary, then invite her to join them on the excavator, to learn a trade that will allow her to support her family alone. The end of the play also depicts a changed Victor: understanding that he was wrong in his relationship with Valya, he acquires a new sense of responsibility, a new dignity and the ability to judge things in their essence. He helps Valya, makes her understand that he has never forgotten her, that he will follow her anywhere and that he will wait for her as long as necessary.

Distribution:

Valley:  Vera Varzopov
Larissa:  Geta Iancu
Serdyuk:  Constantin Adamovici
Sergey:  Liviu Martinus
Victor:  Ion Marinescu
Rodik:  Radu Reisel
Denis:  George Pintilescu
Afanasy Lapchenko:  John the Baptist
Zinka:  Sofia Albu
May: Oana Diamandi
Niura: Simona Constantinescu
The feast: Jean Sandulescu
The girl with the loaf:  Alina Vasilescu
The caregiver:  Doina Ioja Vasiu
The first young man:  Grig Schiţcu
Second young man:  George V. George
Anton:  Radu Cristinel
Lera:  Anna Körner
Serdyuk's first girlfriend:  Doina Urlățeanu
Serdiuk's second girlfriend:  Anca Miere Chirilă
Liosha:  Michael Vasilescu
Choir:  Valeriu Grama, Ilie Iliescu, Anca Miere Chirilă, Nicolae Toma, Doina Ioja Vasiu, Gelu Ivascu, Maria Balog, Doina Bocioc, Maria Gago, Eva Szabó

Technical director: Dalma Simionescu
Prompter: Elena Varlam

Comedy in three acts by Ştefan Iureş and Ben Dumitrescu

Artistic director: Ion Marinescu
Decor: Nagy Sándor
Costumes: Eliza Popescu
Premiere date: January 14, 1961

Focused on the relationship between the individual and society, the play "A Month of Comfort" engages a debate about man's responsibility towards his fellow man, about his involvement in the world in which he integrates.

A group of students arrives at a communist construction site for a month of internship, an experience that will prove essential in understanding their purpose in life. As in any group, the students' personalities are diverse: Filip Teianu is a diligent, individualistic student who dreams of becoming a renowned scientist, but in practice he will prove to be quite inept; Constant Antipa is the "trickster" of the group, endowed with a touch of superficiality and convenience; Maria Popa, Nicu Barbu, Zenovie Cincu are modest, close to others and do not shy away from the hardships of work. Their training is handled by Dumitru Dancu, the secretary of a grassroots organization of the Communist Party, tactful, firm, but also understanding towards young people and their lack of experience. On the construction site, the students understand what life really means and learn to put individual interests in second place, after the interests of the collective to which they belong. Contact with practice overturns seemingly consolidated values and relationships and intervenes decisively in the formation of a realistic attitude towards existence previously known mostly from books.

Distribution:

Dumitru Dancu:  Liviu Martinus
Maria Popa:  Oana Diamandi
Filip Teianu:  George Pintilescu
Nicu Barbu:  Valeriu Grama
Zenovie Cincu:  Grig Schiţcu
Constant Antipas:  Nicholas Thomas
Sandu Hrisca:  John the Baptist
Tereza Dombos:    Vera Varzopov
Tanase's advice:  Lucy Chevalier
Marin Tanase:  Marcel Segărceanu
Elijah:  George V. George
Leonida Bogdan:  Valentin Avrigeanu
Justin Paraschivescu:  Ilie Iliescu
Alexandrine:  Simona Constantinescu
Flower:  Doina Ioja Vasiu
Annuta:  Anca Miere Chirilă

Prompter: Agy Segărceanu

Play in three acts by N.Richard Nash
Translation: Tudor Staicu and Mircea Alexandrescu

Artistic direction and set design: Valeriu Moisescu
Costumes: Vera Varzopov
Premiere date: September 14, 1960

Romantic and full of meaning, the play "The Man Who Brings the Rain" has been adapted for stage and film repeatedly, demonstrating people's need to believe in the power of a dream.

The play is set on the Curry family farm in a small town in the western United States of America, during the Great Depression. For too long, drought has been devastating crops and, at the same time, people's souls; worries come to the fore more forcefully under these conditions, each person's patience and character are put to the test. As a backdrop to the conflict, the drought takes on symbolic dimensions.

A wise, loving father and two brothers built on antagonistic coordinates (Noah – practical, unimaginative and Jim – dreamy, gentle, childish) are concerned about the fate of their daughter and sister, Lizzie, who, at 27, risks remaining an old maid. Strong, wise and hardworking, Lizzie is not very beautiful or attractive, a fact of which she is painfully aware. The event that changes the monotonous rhythm of their existence is the arrival of Bill Starbuck, a symbolic character, who promises to bring them rain in exchange for 100 dollars. Charlatan? Hope seller? What is certain is that everyone believes in him and his power. His appearance triggers a series of events that make Lizzie look at herself in a new light. Indeed, the rain arrives and, with it, love. Although she doesn't follow him, Lizzie will take over Bill's drive and confidence in life.

A piece for the soul, demonstrating the power of poetry and hope to build a world of stories on the canvas of mundane reality. Everything becomes possible if we have the power to dream and believe.

Distribution:

HCCurry:  Ricardo Colbert
Noah Curry:  Constantin Adamovici, Eugen Tugulea 
Jim Curry:  Gheorghe V. Gheorghe, George Pintilescu
Lizzy Curry:  Sofia Albu
Sheriff:  John the Baptist
File, deputy sheriff:  Liviu Martinus
Starbucks:  Ion Marinescu

Play in three acts by Titus Popovici

Artistic director: Dan Alecsandrescu
Decor: Nagy Sándor
Costumes: Eliza Cozma
Premiere date: December 6, 1960

Around August 23, 1944, in an old, unfinished house, a music teacher who was fired from the school where he taught, disagreeing with the acts of the dictatorship in power, his teenage daughter, Ada, and Andrei, an exceptional pianist, Jewish, whom the teacher hid throughout the war, live their existence isolated from the horrors of the outside world. There was a beginning of polemic between them and the official society, but, upon realizing the ideological mismatch, the three preferred to withdraw, convinced that through temporary isolation they would remain pure, untouched: "Time does not exist (...) It got scared of us and avoided us. It left us on an island. Three shipwrecked people." (Ada).

The external reality bursts upon them unexpectedly in the person of the German officer Knapp, a former professor of philosophy at the university. Surprisingly, a cordial discussion begins between Knapp and Andrei, based on an apparent underground understanding between intellectuals: they savor the beauty of Bach's "Passacaglia", they praise the elites and the few who think. However, there can be no bridges of communication between the one who has adopted the cruelty and violence of war and the one who has avoided them at all costs. Knapp and his subordinates crush Andrei's fingers, mutilating him physically and spiritually.

The second one who disturbs the isolation of the three is Mihai, a young Romanian soldier, a communist freshly released from prison and immediately a fighter against Nazism. To the abstractions of the Knapp-Andrei dialogue, he opposes the clarity, the determination, the honor of being involved in the fight. The practical inclination does not exclude aesthetic aptitudes, but in Mihai's case, beauty exists in people.

"Passacaglia" (etymologically, the term derives from the Spanish words "pasar" - to walk and "calle" - street) is a play about the relationship between the artist/intellectual and society. Do they have the right to completely detach themselves from the environment, from the events of the time? As Liviu Ciulei, who staged the play at the Municipal Theater in Bucharest, notes, "essential to the main issue of the play is the truth that man cannot live alone. His consciousness must be part of the consciousness of the era he lives in (...) To be free, you must understand your obligations towards yourself, towards the society in which you live." (from the program of the show).

Distribution:

The teacher:  Constantin Adamovici, Constantin Simionescu
Add:  Sofia Albu
Andrew:  Nicholas Thomas
Michael:  Liviu Martinus
Lieutenant Knapp:  Dorel Urlățeanu
Knight of the Iron Cross:  Andrei Bursaci, Marcel Segărceanu
Legionnaire:  Jean Sandulescu 

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu

Drama in two parts by Radu Theodoru

Directed by: Dan Alecsandrescu
Decor: Nagy Sándor
Costumes: Eliza Popescu
Premiere date: November 26, 1960

Distribution:

Voice:   Vera Varzopov
Scordila:  Eugen Tugulea
Elijah Swears:  Constantin Simionescu
Four:  Nicholas Thomas
Iota:  Grig Schiţcu
Ionut:  Gelu Ivascu
Nica:  Radu Reisel

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala

Comedy in five acts by A.N. Ostrovsky
Translation: Valeria and Profira Sadoveanu

Artistic director: Dan Alecsandrescu
Decor: Valeriu Moisescu
Costumes: Eliza Popescu
Premiere date: April 24, 1960

The central character of the play „The Forest” by NA Ostrovsky is Gurmijskaya, a landlady who, under an appearance of severe virtue, hides a past rich in adventures and a present love for the much too young Bulanov. She shelters a poor relative, Aksyusha, who wishes to marry the son of a timber merchant, Vosmibratov. He opposes the marriage, because the girl has no dowry, and Gurmijskaya does not want to give him anything. Overwhelmed by misery and outraged by this supremacy of money, Aksyusha is ready to commit suicide. A brother of hers, a poor actor, stops her from this extravagant gesture and offers her a sum of money to make the marriage possible. In turn, Gurmijskaya marries the young man who could have been her son, if not her grandson.

Beyond this plot, the play is rich in well-drawn characters and symbols. The forest becomes a metaphor for obscurantism, concealment, work, and what is bought and sold. While Gurmîjscaia is always forced to sell a piece of forest to secure her dubious pleasures, Vosmibratov always buys from her, deceiving her when he can and enriching himself at the expense of this trade. Thus, while reality reduces human relations to trade and intrigues of convenience, art and humanity deprive life of what it has more profoundly: love.

Distribution:

Raisa Pavlovna Gurmayskaya:  Maud Mary
Axinia Danilova:  Simona Constantinescu, Doina Urlăţeanu
Evgeny Apollonovich Milonov:  Misu Vladimir
Uar Kirillichi Bodaev:  Constantin Simionescu
Ivan Petrov Vosmibratov:  Nicholas Thomas
Piotr:  Grig Schitcu, George Pintilescu
Alexei Sergeevich Bulanov:  Jean Sandulescu
Gennady Nesciastlivtsev:  Ricardo Colbert
Arkady Shastlivtsev:  Dorel Urlățeanu
Karp:  Valeriu Grama
Street:  Stefania Popescu, Lucy Chevalier

Technical director: Dalma Simionescu
Prompter: Sofica Spoiala

Comedy in three acts by Constantin Teodoru

Artistic director: Ion Marinescu
Scenography: Valeriu Moisescu
Premiere date: February 27, 1960

The play "The Lion's Share" depicts the unsuccessful attempt of some swindlers to abuse the common goods of society. Bartolomeu Moţoc, the deputy chief engineer, infiltrates a construction site by forging a diploma, and finds two accomplices on the spot. The three occupy the place of the lion (with his famous "share" in the winnings), the rat and the fox in the hierarchy of the fable. However, the people on the site notice their illegal actions and will tighten the circle around the three until they are completely exposed.

Distribution:

Bartolomeu Moţoc:  Ricardo Colbert
Valentine:  Simona Constantinescu, Lucy Chevalier
Pompilian:  Dorel Urlățeanu
Chief Engineer Varlam:  Constantin Adamovici, Vera Varzopov
Pavel Balaban:  George Pintilescu, Eugen Tugulea
Engineer Sava:  Andrei Bursaci, Ion Marinescu 
Master Dima:  Liviu Martinus
Sanda:  Doina Ioja Vasiu, Sofica Albu
Luigi:  John the Baptist

Prompter: Sofica Spoiala

Play in three acts, four scenes by Dorel Dorian

Artistic director: Dan Alecsandrescu
Sets: Nagy Sándor
Premiere date: January 29, 1960

The action of the play "Secunda 58" is set on a socialist energy construction site, whose employees evolve at the pace of construction. Banu Mareş, engineer and construction site manager, is about to leave his wife and child for a new love that appears in his life, in the person of Domnică Rotaru. Ştefan Mareş, his brother, is on the verge of moral collapse. All are put in a situation of radically choosing their path in life. To determine the psychological evolution of the characters, the author uses the technical accident as a symbol: a malfunction, a power outage. For companies that receive electricity from this source, any interruption longer than a minute can cause significant damage. The 58-second malfunction is repaired by the character whose moral premises least justified him to commit this saving act. The 58th second symbolizes the critical moment when seemingly unsolvable problems are clarified, the moment when, after a trial, the ultimate and irrevocable decisions are made. Written in a lively rhythm, in which lyrical passages alternate with dramatic ones and with notes of humor, the play follows the process of increasing the sense of social responsibility in the characters forced to make decisions of vital importance: "we have all had or will have a difficult trial, an interruption... a 58th second..."„

Distribution:

Banu Mares:  Ricardo Colberti, Nicolae Toma
Stefan Mares:  George Pintilescu, Jean Sandulescu
Domnica Rotaru:   Vera Varzopov
Wolf Aman:  Eugen Tugulea
Haircut:  Misu Vladimir
Stella:  Sofia Albu
Valley:  Doina Urlățeanu
Christescu:  Marcel Segărceanu, Ioan Pater
Dumitru Ailincii:  Liviu Martinus
The first young man:  George V. Gheoghe
Second young man:  Grig Scritcu
Ana Petrescu:  Lili Mihailescu

Prompter: Agy Segărceanu

Comedy in three acts by ILCaragiale

Artistic director: Valeriu Moisescu
Scenography: Ştefan Hablinschi (Theatre "Tăndărică" Bucharest)
Musical arrangements: Mihai Vasilescu
Choreography: Ilona Tóth Kovács
Premiere date: December 31, 1959

The plot of the comedy, located "in a carnival, in Bucharest", is woven around two love triangles, which have a point of intersection in the figure of the "gallant barber": Crăcănel - Mița Baston - Nae Girimea and Pampon - Didina Mazu - Nae Girimea. The conflict is triggered by the frantic search undertaken by Pampon and Crăcănel ("the lovers of the purse") to discover the "lover of the heart" who caused "a case of double translation". In parallel, Mița, with her "sinister" impulses, wants to take revenge on the unfaithful barber to whom she was "the noodle", but also on Didina, the "infamous" who secretly stole her lover. These intentions give a convoluted course to the action, which goes from confusion to confusion and from surprise to surprise, which makes Iordache, Nae's journeyman, exclaim: "Beautiful carnival!" Imbroglio-The events are enhanced by the unexpected entrances of Catindat, by the masks and carnival costumes that the heroes change, as well as by the inspiration of Iordache, a worthy successor to the valet from classical comedy, who unravels and tangles the threads of the complicated carnival story.

Distribution:

Nae Girimea:  George Pintilescu
Iancu Pampon:  John the Baptist
Mache Razachescu:  George V. George
A note from perception:  Radu Reisel 
Iordache:  Jean Sandulescu 
An ipsistat:  Marcel Segărceanu
Didina Mazu:  Simona Constantinescu
Mita Baston:  Liana Simionescu
A waiter:  Ilie Iliescu
A mask:  Doina Ioja Vasiu
Masks, audience, night sergeants.

Technical director: Dalma Simionescu

Play in five acts by K. Treniov
Translation: Lucia Demetrius and Sonia Filip

Artistic director: Dan Alecsandrescu
Decor: Valeriu Moisescu
Costumes: Eliza Popescu
Premiere date: November 20, 1959

"Lyubov Yarovaya" is a huge historical panel reflecting the everyday life of the era of the Revolution of 1917, which marked the establishment of Soviet power in Russia. A large gallery of heroes (workers, peasants, intellectuals) is set in motion, revealing different characters of the Russian man of that time. At the center of the play is the drama of the Yarovoys. Until the Revolution, the two loved and respected each other, lived in understanding and harmony. During the years of deep turmoil of the Revolution, the Yarovoys choose different paths, so that an impassable chasm is created between them. Teacher Lyubov Yarovaya, imbued with the values of the Revolution, follows the example of the Bolsheviks, of Commissar Koshchin or of the sailor Svandia. Her husband chooses the opposite camp; although he flirted with progressive ideas, he does not understand the Revolution. The clash between the spouses reflects the clash between the two worlds and anticipates the transformations that will change the face of the country.

Distribution:

Liubov Yarovaia:  Sofia Albu
Mikhail Yarovoi:   Ion Marinescu
Pavla Petrovna Panova:  Vera Varzopov
Roman Koshkin:  Constantin Adamovici
Svanda:  George V. George
Hruschi:  Andrei Bursaci
Grozny:  Liviu Martinus
Mazukhin:  Nicholas Thomas
Maxim Gornostaev:  Dorel Urlățeanu
Elena Gornostaeva:  Lili Mihailescu
Kutov:  Jean Sandulescu
Malinin:  Ricardo Colbert
Arkady Elisatov:  Misu Vladimir
Ivan Kolosov:  Ilie Iliescu
Dunka:  Simona Constantinescu
Mahora:  Doina Ioja Vasiu
Mary:  Maud Mary
Semyon:  George Pintilescu
Gregory:  Eugen Tugulea 
Pikalov:  Marcel Segărceanu
Folgin:  Valeriu Grama
The Baron:  Radu Reisel
Baroness:  Liana Simionescu
Cyrus:  Constantin Simionescu
Zakatov:  John the Baptist
Costumes:  Grig Schiţcu
The first Komsomol member:  Doina Urlățeanu
The second Komsomol member:  Stella Adamovici
A general:  Dan Alecsandrescu
First sentinel:  Andrei Bursaci
Second sentinel:  Nicholas Thomas
A lady:  Liana Simionescu
Tatiana:  Stella Adamovici
An officer:  Zeno Fodor
In other roles – workers, red soldiers, officers, soldiers, high school students, citizens: Mircea Andreescu, Janette Ştefănescu, Alex Crainic, Dan Borcea, Stelian Stoica, Elena Constantinescu, Pia Gheorghe, Antoaneta Florian, Tanţa Vasilescu, Margareta Leu, Liliana Mircioiu, Doina Bocioc, Adriana Săbăduc, Edith Moscovici, Liviu Munteanu, Paşcu Blaga, Ion Orban

Technical director: Dalma Simionescu
Prompter: Agy Segărceanu