Mihai Eminescu Poetry Theater
Artistic director: Eugen Harizomenov
Scenography: Vioara Bara
Premiere date: February 28, 1995
Interpreters:
Mariana Presecan, Dorin Presecan, Ion Mainea, Elvira Platon Rîmbu, Ion Abrudan
Guests:
Leopoldina Balanuta (recited all letters Eminescu's)
Dana Borsan (on piano, fragments of piano concertos by Tchaikovsky, Mozart, Beethoven)
Comedy in two parts by Neil Simon
Translation and adaptation: Marica Beligan
Artistic direction and scenography: Ion Mâinea
Premiere date: June 22, 1995
Herb Tucker, a Hollywood writer and screenwriter, whose inspiration seems to have entered a sterile rut, left his wife and two children sixteen years ago. One day he receives an unexpected visit from his daughter, Libby, who seeks him out under the pretext of needing his help and recommendation to launch herself as an actress in the film world. Starting from this topic, the two develop a brilliant dialogue about the avatars of life in Hollywood, but also about the responsibilities of man in life, about the (im)possibility of reconciliation, which, however, cannot replace the years of lost affection. A tender and tender comedy, often on the verge of tears, about actions with irreversible consequences on oneself and on those around them.
Distribution:
Herb Tucker: Ion Tomorrow
Libby Tucker: Roxana Ivanciu
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Soundtrack: Sorin Domide
by Anca Visdei
Translation: Paula Romanescu
National premiere
Directed by: Emil Gaju
Scenography: Gyöngyi Újvárossy Kerekes
Set design assistant: Gheorghe Milian
Premiere date: June 1, 1995
A comedy that is both tragic and farcical, "Dona Juana" rewrites in a modern key one of the most fruitful myths of universal literature – that of the conqueror symbol of absolute caprice. Driven by the urge of knowledge, Juana conquers all men, from all periods, countries and professions (priests, knights, soldiers, etc.). Once the seduction is complete, she abandons her victim, not out of the pleasure of causing suffering, but out of the tireless pursuit of something else. In her search, Juana tries to create the ideal man, composing him from dozens and dozens of different parts. Like a perfect actress, she stages the spectacle of conquest day after day, weaves intrigues, maintains illusions, then takes off her mask and laughs sincerely at everyone and everything. While everyone around her ages and dies, Dona Juana remains eternally young and beautiful, across the ages, ready at any time for a new case study...
Distribution:
Juana: Elvira Platon Rîmbu
Eusapia: Ileana Iurciuc
Cesare and Brosolom: George Voinese
Parsifal: Petre Panait
Gonzague: Ion Ruscut
Siegfried: Dorin Presecan
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lights: Iosif Balogh
Sound: Sorin Domide
Comedy in three acts by J.B. Priestley
Translation: Sima Zamfir and C. Grigoriu
Directed by: Otto Szombati Gille
Set design: Vilmos Bölöni
Costumes: Maria Precup
Premiere date: April 6, 1995
The action of the comedy "The Scandalous Affair of Mr. Kettle and Mrs. Moon" begins on a monotonous and rainy Monday, in a dull space, seething with prejudice – the English town of Brickmill. "In this place suffocated by conformity and the rancidity of a feigned existentialism, Mr. George Kettle, a bank clerk, "inspired" by a foreign voice, to the astonishment of the other townspeople and acquaintances, suddenly breaks with the feigned good manners and the snobbish social rhetoric, assuming the risk of being himself, which is interpreted by others as drunkenness, illness or madness. The "morality" of the social mechanism begins to creak at such manifestations, not delaying in exerting its pressure, so that the wayward sheep can be brought back into the flock. In this place hostile to any change, hostile to any attempt to highlight the personality, the bank clerk nevertheless finds a partner in "heresy", in the person of Mrs. Moon, whose life and love he is ready to suffocate for the same reasons. And as great ideals begin with small, even banal, gestures, the solidarity in breaking with pretense and the social training of the two begins with a strange drumbeat, at the same time an element of defiance, but also of irremediable compromise. The other characters are, to a greater or lesser extent, nothing more than voluntary "pistons" of social pressure through which the assumed individuality of the two is sought to be re-melted into the common indistinction. And, as a climax to the non-acceptance of any "compromise", the collectivity, through its brave (and not a few) representatives, even appeals to a doctor so that Mr. Kettle's obedient self can be restored, through a hypnosis treatment. Although it seems to have succeeded, the hilarious hypnosis operation turned out to be, in the end, just useless gymnastics, a sign that if one has the will, the individual can break the social corset, to fulfill oneself in freedom and love, feelings whose grammar is always fulfilled individually, never in groups.„ (Ioan F. Pop)
Distribution:
George Kettle: Dorin Presecan
Mrs. Twigg: Mariana Vasile
Monica Twigg: Elvira Platon Rîmbu
Hardacre, city councilor: Petre Panait
Commissioner Street: Ion Abrudan
Delia Moon: Mariana Presecan
Henry Moon: Daniel Vulcu
Mr. Clinton: Marcel Popa
Dr. Grenock: Nicolae Barosan
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lights: Iosif Balogh
Musical illustration and sound design: Sorin Domide
Tragic Farce by Eugen Ionescu
Translation: Dan C. Mihăilescu
Artistic director: Emil Gaju
Scenography: Gyöngye Újvárossy Kerekes
Soundtrack: Florian Chelu
Premiere date: February 16, 1995
A text with metaphysical ambitions, as the author himself confesses, and claiming to be a model for the Caragiale farce "Conu Leonida facing the Reaction", the play "The Chairs" brings to the fore the couple Old Man and Old Woman, two quasi-anonymous characters, without a biography, who have been living for years and years a life of exorbitant platitude, dominated by boredom, banality and repetition: "For seventy-five years, since I got married, every evening, but absolutely every evening, you have made me tell you the same story, to imitate you the same months... always the same thing... let's talk about something else..." (Old Man).
And yet, an event with very special connotations breaks this existential monotony: the reunion at their home of great personalities – „scientists, landlords, guards, bishops, chemists, boilermakers, violinists, delegates, presidents, policemen, merchants” and the Emperor himself – will be the setting in which the Old Man will further transmit to humanity his lifelong message. His inability to put this conclusion into words makes him call on the services of a professional Orator. While waiting for him, the two old men allow themselves to be seized by a frenetic agitation, welcoming the guests and providing them with chairs. The guests, however, are invisible and gradually, the old men are overwhelmed by these presences that are actually absences that crowd together until they are a crushing, suffocating crowd. The agitation reaches its climax when the two lose themselves in opposite corners of an empty room.
Upon the arrival of the Orator, reassured that they have not lived in vain, the old men throw themselves into the void through two windows far from each other; but the Orator is mute, and his incomprehensible moans ("He, mme, mm, mm") resemble those of the mute, essentially equivalent to silence.
In the July 1956 issue of the magazine "Spectacles", Eugen Ionescu declared: the theme of the play "The Chairs" "is not the message, nor the failures in life, nor the moral disaster of the elderly, but precisely the chairs, that is, the absence of persons, the absence of the Emperor, the absence of God, the absence of matter, the unreality of the world, the metaphysical void - the theme of the play is nothingness."„
Distribution:
The old man: Eugen Tugulea
Old woman: Ileana Iurciuc
The speaker: Ion Abrudan
The woman in white: Roxana Ivanciu
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Enchantment by Vasile Alecsandri
Stage adaptation and artistic direction: Anca Bradu
Scenography: Vioara Bara
Original folk-inspired music: Florian Chelu
Orchestra: Cornel Ungur, Şerban Lupu, Robert Schwartz, Constantin Dobrin, Gheorghe Dobrin, Radu Szabo, Gheorghe Berchi
Premiere date: December 8, 1994
A luminous enchantment, but full of satirical verve, irony and lively spirit, "Sânziana and Pepelea" takes place in a society where everyone's motto is: "You get up, I'll put myself in it", led by Papură-Vodă - a weak and hesitant leader. The advisors Păcală and Tândăla behave like him, flatter him and hide the true reality of the kingdom from him. In the kingdom where total chaos reigns, Sânziana does not find her place, she does not feel safe. Disputed by Pîrlea and Lăcustă, symbols of desolation, Sânziana is kidnapped by Smeu and taken to his island. Sânziana will be saved by the clever Pepelea who, helped by the enchanted whistle received from the Fairy of the Lake, will free her from the spells and take her as his wife. A play that allows, through theater, a return to the dream world of childhood.
Distribution:
Emperor Burdock: Ion Abrudan
Sanziana: Ramona Atanasoaie
Pepelea: Petre Panait
Pârlea-Vodă, Statu-Palma-Babra-Cot: George Voinese
Grasshopper Voda: Daniel Vulcu
Caution: Ileana Iurciuc
Tandala: Mariana Neagu
Baba Rada and the Lake Fairy: Roxana Ivanciu
The Forest Fairy: Elvira Platon Rîmbu
The Kite of Kites: Dorin Presecan
Murgila: Ion Ruscut
Other characters: Crina Abrudan, Anca Popa, Radu Szabo, Florin Puşco, Viviana Mut, Cristina Cimbrea, Amalia Danciu, Cristina Goldea, Gheorghe Iernea, Sebastian Kadas, Dana Măduţa, Amalia Mihuţ
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
by Eduardo de Filippo
Translation: Angela Ioan
Artistic direction and scenography: Mihai Lungeanu
Premiere date: September 22, 1994
„"The "Art of Comedy" is constituted in a dramaturgical, apologetic essay, in a discourse for home through which art, giving up its fictional props and donning the untransfigured garment of reality, tries to emerge from behind the curtain of indifference to occupy its central place in the sphere of human concerns. This is not an easy thing to achieve because, yesterday as today, those who direct power are in a bad relationship with the idea, with transcendence. (…)
The first half of the play, set in the office of a new prefect in a provincial town, shows us His Excellency de Caro, the prefect, Giacomo Franci, his secretary, and Veronesi, the doorman, who are forced to endure the visit of an actor, the director of a theater troupe, Oreste Campese. Thus begins a long and rather theoretical dialogue – sometimes even didactic – about theater, about the social condition of the actor, about the causes of the crisis in which theater finds itself. (…)
This first part, with all its plea in defense of theatrical art, is nothing more than a theorem whose artistic solutions will be solved in the second part. Oreste Campese did not come to the new prefect to request small material facilities, but to invite him to the theater, thus setting a good example for the other inhabitants. However, the prefect – although he played theater in his youth – no longer has time for such trifles, he has the high mission of administering the temporal things of everyday reality. Annoyed by this refusal, the director of the small troupe – whose theater has just burned down – draws the prefect's attention to the lessons that can be learned from theatrical art, even for his earthly concerns. He also does not forget to draw his attention to the fact that he managed to save a few beards, mustaches, and the makeup kit from the fire and that – taking the list of names of those registered in the audience „by chance” – he could send him the disguised actors, and the prefect would not be able to distinguish them from the real people. (…) From this moment on, through the entry into the scene/reality of Dr. Quinto Basseti, Father Salvati, Teacher Lucia Petrella, and the sacristy, the play demonstrates the validity of the well-known phrase of art – mirror of life. Mixing in indecipherable doses the realism of art with the fiction of reality, the play makes it impossible for us to distinguish art from life, a moment tense to the maximum by the real death, faked – we do not know – of the pharmacist. Art and life join hands in a chain whose limits cannot and should not be drawn. So, as much art, as much life and… vice versa.” (Ioan F. Pop in „Noua Gazetă de Vest”, no. 147, Year III (no. 44), November 2 – 8, 1994)
Distribution:
His Excellency the Diamond: Eugen Harizomenov
Giacomo Franci: Dorin Presecan
Veronese: Tiberiu Covaci
Oreste Campese: Ion Tomorrow
Quinto Bassetti: Ion Abrudan
Father Salvati: Petre Panait
Lucia Petrella: Ileana Iurciuc
Gerolamo Pica: Eugen Tugulea
A mountaineer: Marcel Popa
His wife: Mariana Presecan
A paraclyser: George Voinese
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Outdoor poetry performance at the statue of poet Mihai Eminescu
Artistic direction and musical illustration: Eugen Harizomenov
Premiere date: June 14, 1994
Interpreters:
George Voinese, Mariana Presecan, Elvira Platon Rîmbu, Ion Ruscut, Dorin Presecan
Musical piece for children by Gheorghe Stana
Artistic direction: Gheorghe Stana
Scenography: Gyöngyi Újvárossy Kerekes
Music: Camil Georgescu
On synthesizer: Laurentiu Baciu
Premiere date: April 5, 1994
Distribution:
Alice: Mirela Corbeanu, Roxana Ivanciu
The rabbit: Dorin Presecan
Grandmother and the Empress: Simona Constantinescu
The Emperor: Nicholas Thomas
The younger brother, the poor suitor: George Voinese
The Devil and the Prince: Ion Ruscut
Baba Cloanta and Mother: Mariana Vasile
A suitor and the Father: Marcel Popa
Grandpa and a Kite: Eugen Tugulea
Big Brother, A Kite and the Herald: Tiberiu Covaci
A suitor and a kite: Nicolae Barosan
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Comedy by Carlo Goldoni
Translation: N.Al.Toscani
Co-produced show with the Northern Theater in Satu Mare
Stage adaptation and artistic direction: Cristian Ioan
Scenography: Dan Jitianu
Music: Anamaria Manfredi
Premiere date: April 2, 1994
The aspiration to rival the aristocracy, through expensive pleasures, can bring serious harm to the bourgeoisie in the midst of a crisis of values. Two families ardently engage in preparations to spend a few months in the country, even at the cost of enormous debts ("The Mania of the Holiday"). The bucolic life is the setting in which loves flourish, but also rivalries, while the precarious fortune is squandered ("The Adventures of the Holiday"). Upon returning to Livorno, reality regains its rights to govern reason and feelings ("The Return from the Holiday"). Material ruin rhymes with sentimental and moral ruin in this world in which everything - from love to social relationships - is only appearance, and the only way to maintain appearances is well-being, also chimerical. Everything is an unsuccessful copy of the aristocratic way of life: concerned only with the frivolous aspects of life and forgetting the essentials, the traveling bourgeois are never in the right place or at the right time, so the only ones who truly enjoy the vacation are the servants...
Distribution:
Performers from the Oradea State Theater:
Jacinta: Mariana Presecan
Ferdinand: Daniel Vulcu
William: Ion Abrudan
Rosina: Ileana Iurciuc
Tognino: Petre Panait
Performers from the Satu Mare Northern Theatre:
Philip: Ion Tifor
Leonardo: Carol Erdos
Victory: Adriana Vaida
Fulgence: Marcel Mirea
Paul: Vasile Blaga
Bridget: Ortanza Codreanu
Sabina: Viorica Suciu
Constance: Livia Ungureanu
Bernardino: Constantin Dumitra
A lover: Aurora Demeter
An angel: Christian Dan
Statue of the Goddess Athena: Carmen Fratilă
The Nevermore Corps: Radu Cioara
Technical director: Eugenia Popa
Prompter: Iuliana Chelu
Lighting: Balogh Iosif, Laviniu Goron
Sound: Sorin Domide
AWARDS:
-Grand Prize at the International Theatre-Image Festival, 3rd edition, Satu Mare, 1994 (tied with the show The game of slaughter directed by Beatrice Bleonţ)
Play by Antonio Gala
Translation: Alina Cambir
First in the country
Artistic director: Anca Bradu
Scenography: Vioara Bara
Premiere date: February 10, 1994
The debate that playwright Antonio Gala proposes in the modern tragedy "Birds' Graveyard" demonstrates that, just as there is an indestructible link between man's desire for freedom and his fear of it, much-coveted freedom, understood from an individual perspective, can easily become a danger, even a new tyranny.
A closed, suffocating space, devoid of light and perspective. This is the house of the Aguayos family – a family where hatred, contempt and suspicion reign, where the very idea of freedom and flight is annulled by the existence in the setting of a collection of stuffed birds by an omnipresent and dictatorial old man, mercilessly crushing any spark of will or personality in those around him. The sons – Deogracias and Nicodemo, already almost old themselves, are two weak beings, puppets with a questionable sense of ethics, helpless and irresponsible. Their wives are also weak, resigned creatures, living in illusions, but at least once in their lives, they know the extraordinary taste of freedom: in the end, Emilia will kill Miguel, the old man's illegitimate son, witness to all the antics that have taken place in the house, proving to herself that she is capable of action, even a horrible one; Martina, at fifteen, before being raped by the old man, gives herself to the first stranger who comes her way.
The celebration of Deogracias' sad silver wedding with Emilia becomes the occasion for a plot against this tyrannical "pater familias", like a tireless genius of evil. The song "Happy Birthday" coincides with the pouring of poison into the old man's glass, but he plays a trick on everyone by dying before drinking, leaving them without a deed, only with the oppressive sin of intention. The news of the old man's death triggers a kind of revolution in the Aguayos house and everything is engulfed in a purifying fire in which the infamous collection of stuffed birds also burns. Having emerged from the old man's dictatorship, the residents of the house are faced with a new existential difficulty: "I have come out of one tyranny, I am not willing to enter another; the tyranny of freedom is worse." (Emilia). From the grave, the old man deals one last blow to the family members, disinheriting his sons and leaving everything to Miguel and Laria. This one, like a living, graceful, delicate bird, will leave, but will she find her place in the outside world? Is this world clean enough? Or is Laria herself spotless? However, she will give birth to a child, perpetuating the miracle of life and leaving room for hope, however frail and uncertain.
Distribution:
Emilia: Mariana Vasile
Martina: Mariana Neagu
Thanks: Ion Tomorrow
Nicodemus: Ion Abrudan
Michael: Dorin Presecan
Laria: Elvira Platon Rîmbu, Lioara Bradu
The original music of the show was performed by the Oradea State Philharmonic Orchestra, under the direction of conductor Romeo Rîmbu.
The performer of the aria for cello and guitar: Maria Trendler.
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Comedy with ballet by Jean Anouilh
Artistic direction, stage version and musical illustration: Louise Dănceanu
Scenography: Gyöngyi Újvárossy Kerekes
Choreography: Andreea Csora
Premiere date: November 5, 1993
Life in Vichy is uneventful and monotonous for several members of the British aristocracy – Lady Hurf, her nieces, Eva and Juliette, and Lord Edgar – as well as for the Dupont-Dufort father and son, who are looking for alliances to revive their bankrupt banking business. The arrival of the thieves Peterbono, Hector and Gustave fundamentally changes the rhythm of this peaceful life: Hector will flirt with Eva, Gustave and Juliette will fall in love with each other, while Peterbono, foreseeing a terrible blow, will try to assign his friends the false identities of Spanish nobles ruined by the revolution. Although she detects the attempted fraud from the very beginning, Lady Hurf invites the three impostors to her villa. Peterbono and Hector are delighted, only Gustave suffers at the thought of having to lie to his beloved Juliette.
While the whole group is at the casino, where a Thieves' Ball is being held (which turns out to be a Flower Ball), Gustave decides to rob the house and leave on the spot. Unexpectedly, Juliette joins him, discovers the truth and asks him to take her with him wherever he goes. Just when Juliette is found missing and Gustave is suspected of kidnapping her, he brings her home, asleep, to spare her the life of vagrancy and thievery that they would have led together. The Intervention God from the machine Lord Edgar's help saves the entire situation and allows the young people's love story to come true: claiming to recognize in Gustave the son who was stolen from him at a young age, Lord Edgar gives his friend, Lady Hurf, the opportunity to give her consent to the marriage of the two.
Distribution:
Lady Hurf: Simona Constantinescu
Lord Edgar: Nicholas Thomas
Peterbono: Petre Panait
Hector: Nicolae Barosan
Gustave: Daniel Vulcu
Eve: Elvira Platon Rîmbu
Juliette: Mariana Presecan
Dupont-Dufort Father: Marcel Popa
Dupont-Dufort Son: Tiberiu Covaci
The City Hall Drummer: Ion Ruscut
A lame man and a rheumatic holidaymaker: Laurentiu Peev
Two jacks: Gheorghe Iernea, Sorin Precup
Parliamentarians, Policemen, Borfas: Alexandru Luca, Cristian Goron, Sorin Precup, Gheorghe Iernea, Ioan Szabó, Iosif Szilágyi
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Free version by Ştefan Oprea, after Mark Twain
Artistic director: Eugen Harizomenov
Scenography: Gyöngyi Újvárossy Kerekes
Musical illustration: Zoltán Rézműves
Premiere date: May 27, 1993
One of the favorite themes of universal literature – time travel – finds a brilliant treatment in Mark Twain’s novel, „A Yankee in King Arthur’s Court”, the starting point of the dramatization that takes us to the 6th century AD. A powerful blow to the head sends the Yankee (in Ștefan Oprea’s screenplay version – Yankee) from modernity to an era that his enterprising spirit will try to transform after the model of the one he unexpectedly and unwillingly lost. After saving his life by skillfully using his knowledge about the occurrence of a solar eclipse during that period, the Yankee becomes King Arthur’s main advisor. He is installed with a telephone, and the knights at the court are forced to wash themselves, an unheard-of punishment in their noble families. The reforms proposed by the Yankee overturn the entire order of the kingdom. The sovereign is asked to retire, and the country to become a republic; The knights are no longer to live off rents and noble titles, but to work like other citizens, so the play ends with a comical visit by the characters to the labor office.
Distribution:
Yankee: Elvira Platon-Rîmbu
King Arthur: Nicholas Thomas
Queen Guinevere: Mariana Neagu
Merlin: Eugen Tugulea
Clarence: George Voinese
Sir Kay: Ion Abrudan
Sir Lancelot: Nicolae Barosan
Sir Gareth, Sir Wagramore: Tiberiu Covaci
Sir Galahad: Ion Ruscut
Sir Dinadan: Marcel Popa
Sir Calonfir: Petre Panait
In other roles: Olivia Steer, Corina Moga, Veronica Mărcuş, Amalia Iscru, Dalia Hiciu, Cristina Şuteu, Andreea Brândaş, Cristian Goron, Nicu Segărceanu, Laurenţiu Peev, Gheorghe Iernea, Alexandru Luca, Iosif Szilágyi, Laszló Kiss
Technical director: Florin Popescu
Prompter: Corina Moga
Lighting: Balogh Iosif, Laviniu Goron
Sound: Sorin Domide
by Denc Serban Codrin
Absolute premiere
Artistic direction and musical illustration: Mihai Lungeanu
Scenography: Vioara Bara
Premiere date: April 1993
„"In a dilated time, certainly one of the apocalypse, in a space let's call it, defining it also through time, nocturnal, anyway a space "neither alive nor dead", seven women, seven grotesque masks, seven (and not coincidentally seven, right?) primordial women postpone death, deceive it, lead it by the nose, if perhaps they are long dead and what we see is only the illusion of their past lives. If what all these former, former ... and former "flowers" have experienced could even be called life.
So, under the sign of the apocalypse, the seven manly women dream their unlived or secretly lived dreams, their virgin dreams, they live their last illusions, among which the one related to love, to IONEL remains the most popular. Like a children's game: the game of love... They, the old women, produce an endless mess, obsessed with FEAR, with the paralyzing fear that IONEL might disappear too... And then they would have nothing left... Between two or ninety-nine coffees, sweeter or more bitter, apparently "devoted" lives have been consumed, "courageous" destinies of reliable companions, with "responsible jobs". How could the ceremony of coffee, in the dregs of which they especially guess their past, these pitiful beings, failed wrecks, haunted by moral and biological misery, be anything but comical? (…)
WHO is IONEL? The seducer. Or maybe obsession, unconsummated love, illusion, liberation, chimera or DEATH. Ultimately, it's still a liberation. The essential one.
Who is IONEL? Let us answer, like BECKETT about GODOT. We have no idea. If we knew, we would have said so.” (Elisabeta Pop, in the program of the show).
Distribution:
Daisy: Simona Constantinescu
Carnation: Ileana Iurciuc
Pansy: Elvira Plato
Flower: Mariana Neagu
Violet: Mariana Presecan
Lily of the valley: Mariana Vasile
Dahlia: Petre Panait
Technical director: Florin Popescu
Prompter: Iuliana Chelu, Corina Moga
Lighting: Vasile Blejan, Balogh Iosif, Laviniu Goron
Sound: Sorin Domide
AWARDS:
-Play awarded with the First Prize at the 1992 Drama Competition, Oradea
Comedy by Antonio Mattiuzzi called Collalto
Translation: David Esrig
Stage adaptation and artistic direction: Cristian Ioan
Scenography: Vioara BarA
Premiere date: March 6, 1993
The play performed at the State Theatre of Oradea is an adaptation of the classic comedy written by Collalto to the condition of the Romanian emigrant in the West. The time of the action and the identity of the characters are radically transformed: in the Parisian inn the Italians do not meet (as in Collalto's comedy) and we are no longer in the middle of the 18th century. The events take place in March 1993, in a car cemetery in Paris, transformed into a night asylum and run by a group of Romanians with at least dubious identities. As Dumitru Chirilă notes in "Familia" (no. 3/March 1993), "these Romanians stranded in Paris belong to a category of desperate people whom the revolution dislocated, set in motion and threw into circumstances conducive to the perversion of character. More or less venal businessmen, but all of very small caliber, pimps, prostitutes, etc., make up the context in which the three twins evolve and in which their entanglements are consumed." The three Venetian brothers become Țane from Brașov, Țane the sailor from Sulina and Țane from Buzău. They have nothing in common except physical resemblance, differing from the point of view of characters and destinies. Beyond the comic situation created by the constant confusion of the three by the rest of the characters, the play also has a sad undertone, investigating the weakness of human nature which, out of a natural desire for happiness, goes astray on the path to it, out of excess, haste, and disorientation.
Distribution:
Tane from Braşov, Tane the sailor from Sulina, Tane from Buzău: Daniel Vulcu
Angelica: Mariana Presecan
Gregory: Nicolae Barosan
Catherine: Ileana Iurciuc
Petrica: Petre Panait
Get rid of: Tiberiu Covaci
Argentine: Mariana Neagu, Elvira Platon
The Commissioner: Eugen Harizomenov, Ion Ruscut
Policeman: Ion Abrudan
Boy 1: George Voinese
Boy 2: Ion Ruscut
In figuration: Olivia Steer, Adela Brânzas, Cristina Nicu, Mirela Brânzas, Laura Cret
Technical director: Eugenia Popa
Prompter: Adriana Nica
Lighting: Iosif Balogh, Laviniu Goron
Musical illustration and sound design: Sorin Domide
Play in three parts, nine paintings by Silvia Kerim after Charles Dickens
Absolute premiere
Artistic director: Rodica Radu
Scenography: Gyöngye Újvárossy Kerekes
Music: Nicolae Neagoe
Premiere date: December 15, 1992
The well-known parable about the magic of Christmas, with its power to perform miraculous transformations, brings to the fore Ebenezer Scrooge, an old misanthrope, grumpy, lonely and hardened by the only unhealthy love in his life – for money. Although his nephew Fred invites him to his family's Christmas party, Scrooge chooses to spend the night alone, in his cold and dark house, not foreseeing that he will have four bizarre encounters that will change his life. The first appearance is the ghost of Jacob Marley, Scrooge's former business partner, who was condemned after death to haunt without rest, as punishment for his greed and selfishness. Wanting to protect Scrooge from a similar fate, Marley informs him that three spirits will visit him in the following nights. Indeed, three Ghosts of Christmas, from the past, present and future, make Scrooge revisit his serene childhood, take part, unseen, in the parties full of light and joy of those around him, but also understand how his fellow men would relate to his death, if his nature remained unchanged. Waking up from a frightened sleep, not knowing if everything was a dream or reality, Scrooge promises himself to be kind and loving towards people, merciful towards the poor, giving up the avarice and selfishness that had made his life miserable until then. And from promise to fulfillment there is only one step left, because at Christmas everything is possible…
Distribution:
Scrooge: Petre Panait, Eugen Tugulea
Cratchitt: Dorin Presecan
Mrs. Cratchitt and the Lady with the Child: Mariana Vasile
Scrooge and Ali Baba's nephew: Doru Firte
Nephew's Wife and Markley's Mother: Ileana Iurciuc
The Collector, Marley's Friend, Robinson Crusoe, A Caroler: Ion Ruscut
Lady from the charity committee, Neighbor, Grandma: Alla Tautu
Marley and Don Quixote: Marcel Popa
The Spirit of Christmas and Santa Claus: Daniel Vulcu
Mr. Feeziwig and Joseph: George Voinese
Mrs. Feeziwig and Young Marley: Mariana Presecan
Little Red Riding Hood and the Guest: Ofelia Fîrte
Harlequin and the Myrrhbearer: Elvira Plato
In other roles: Olivia Steer, Robert Morar, Orsolya Újvárossy, Zoe Popa, Ruxandra Oros, Alexandru Fîrte, Sergiu Fîrte, Ionuţ Ruscuţ, Otilia Oros, Ciprian Băican, Crinel Băican, Ovidiu Pantea, Marika Lapka, Ionela Bonca, Laviniu Covaci, Ciprian Matei
Technical director: Eugenia Popa
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Comedy by GBShaw
Translation: Petru Comarnescu
Artistic direction and soundtrack: Eugen Harizomenov
Scenography: Vioara Bara
Stage movement: Gitta T.Săteanu
Premiere date: November 12, 1992
Is beauty a reflection of virtue? Does the artist love his creation, or only the art that helped him create it? What types of relationships can exist between a man and a woman? Is it possible to rise from one social class to another? Irish playwright George Bernard Shaw proposes a meditation on these questions, starting from the ancient myth of Pygmalion and Galatea, which he places in Victorian England, giving it new human and symbolic valences.
A chance meeting and a bet between professors Higgins and Pickering fundamentally change the life of simple florist Eliza Doolittle, raised in a poor suburb. Phonetics professor Henry Higgins takes on the challenge of transforming Eliza into a star of London's social world within six months, endowing her with a superficial aristocratic education, in which the essential element will be the impeccable way of speaking. The social and linguistic experiment that fascinates Higgins succeeds so well that at a reception given by an ambassador, Eliza passes for an aristocrat of royal blood, of Hungarian origin, and when the professor tells everyone the truth, no one believes him. The drama of the girl of modest condition begins when, once transformed into an ideal young lady - becoming Galatea, she no longer finds her place in the world...
Distribution:
Henry Higgins: Eugen Harizomenov
Mrs. Higgins: Simona Constantinescu
Eliza Doolittle: Mariana Presecan
Alfred Doolittle: Nicholas Thomas
Colonel Pickering: Ion Abrudan
Mrs. Eynsford Hill: Mariana Neagu
Clara: Elvira Plato
Freddy: Dorin Presecan
Mrs. Pearce: Alla Tautu
The maid: Ofelia Fîrte
Smith: George Voinese
An ironic gentleman: Ion Ruscut
Florals and figuration: Dorin Demian, Cristina Nicu, Adela Branzas, Adela Cret
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
by William Shakespeare
Translation: Leon Leviţchi
Artistic director: Tudor Chirilă
Scenography: Mihai Ciupe
Musical illustration: Tibor Fátyol
Premiere date: October 2, 1992
On a deserted island, in total harmony with nature, but also with benevolent spirits, Prospero and his daughter, Miranda, lead a peaceful existence. The appearance near the island of a ship with a group of nobles on board is the opportunity for Prospero, like a skilled director, using his insight and his wizarding abilities, to bring his existence and that of those around him back to the natural womb, from which they had been deprived for many years. Former Duke of Milan, Prospero had seen his throne usurped by his brother, Antonio, with the help of the King of Naples, Alonso. Abandoned at sea in a boat with his daughter, Prospero had survived thanks to hidden provisions, along with some books, by a faithful servant, Gonzalo. Once on the island, for twelve years, he dedicated his time to studying, educating Miranda, and freeing a group of spirits imprisoned by an evil witch in tree trunks.
Learning, through his magical powers, that the usurpers Alonso and Antonio, as well as other courtiers, are on the ship, Prospero orders Ariel, the chief of the spirits, to stir up a strong storm, to separate the courtiers from each other, but to ensure that the ship reaches the island's shores safely. Moreover, he mediates a meeting between Miranda and Ferdinand, the son of the King of Naples, and the two young people fall in love with each other on the spot. Even avoiding a plot by the courtiers, who planned to kill him in order to become the rulers of the island, Prospero meets Antonio and Alonso, who express sincere regret for the injustice committed years ago. Alonso gives his consent to Ferdinand's marriage to Miranda, and Antonio declares that he will return the throne to Prospero as soon as they return to their native lands. So, finally burying their magic books and wizard's wand, Prospero and his friends embark on the return journey to Naples, protected by the kindness of the playful Ariel.
Distribution:
Alonso: Eugen Tugulea
Sebastian: Nicolae Barosan
Prospero: Ion Tomorrow
Antonio: Doru Firte
Ferdinand: Dorin Presecan
Gonzalo: Ion Abrudan
Francisco: Marcel Popa
Caliban: Tiberiu Covaci
Trinculo: Daniel Vulcu
Stephano: Petre Panait
Miranda: Oana Mereuta
Ariel: Elvira Plato
In figuration: Ofelia Fîrte, Ioan Munteanu, Sorin Precup, Alexandru Luca, Cristian Goron, Dacian Coşe
Technical director: Eugenia Popa
Prompter: Iuliana Chelu
Lighting: Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
