Poetry Theater – Eminescu Show in collaboration with the Oradea State Philharmonic
Artistic direction and scenography: Sergiu Savin
Premiere date: January 10, 1992
Interpreters:
Oana Mereuţă, Elvira Platon, Nicolae Toma, Eugen Ţugulea and the Oradea State Philharmonic Orchestra, conductor: Romeo Râmbu
Invited:
Valeria Seciu, Ovidiu Iuliu Moldovan
Entertainment show
Screenplay: Mircea Chirilă and Daniel Vulcu, after Emanuel Hartman, Róbert Rátonyi, James Stille, Sándor Jancsó, Carlo Compagni, József Fehér
Artistic director: Daniel Vulcu
Scenography: Vioara Bara
Premiere date: June 10, 1992
A new revue show meant to lighten the brows of the viewers, at least for a few hours, "Is Love Just a Joke?" included modern and social dance presentations, hits from the repertoire of stars such as Romina Power, Al Bano, Michael Jackson, Joe Cocker, Tina Turner, Phil Collins, love songs and operetta moments, but also humorous skits: "Mica publicitate", "Flagrant delict", "La medic", "La maternity".
Artistic director: Daniel Vulcu
Scenography: Vioara Bara
Premiere date: June 10, 1992
Interpret:
Alla Tăutu, Nicole Toma, Ileana Iurciuc, Mariana Presecan, Daniel Vulcu, Nicolae Barosan, Elvira Platon, Petre Panait, Doru Fîrte, Ion Ruscut, Lidia Lăzău, Eta Szél Patka, Luminita Crăciun
Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Comedy in two parts by Leonard Gershe
Translation: Elisabeta Pop, Teodor Crişan and Otto Szombati Gille
Artistic director: Otto Szombati Gille
Scenography: Gyöngyi Újvárossy Kerekes
Premiere date: March 24, 1992
A tender, moving play, "Butterflies Are Free" was one of the most successful performances on Broadway, and also enjoyed a cinematic adaptation to match this success. Born blind, Don lived his entire life with his mother, almost tyrannical in her affection. In his early youth and in full expansion of the flower-power movement, Don decides to break away from his mother's tutelage, in search of freedom and his own identity. Soon, he knows a different meaning of love than the maternal one, through Jill, an actress at the beginning of her career and already gone through a divorce. A woman-child, irresponsible, playful, Jill fascinates Don with her exuberance, just as Don conquers Jill with his culture and lifestyle that makes him different from all her lovers up to that point. Beyond melodrama and sentimentality, the show captures situations that remain essentially the same despite the passage of time, with young adults being shaken by the same small dramas, equivocal situations and uncertainties.
Distribution:
Don Baker: Doru Firte
Jill Tanner: Elvira Plato
Mrs. Baker: Alla Tautu
Ralph Austin: Petre Panait, Dorin Presecan
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Stelian Panea
Play in two parts by Alexandr Ghelman
Translation: Tudor Steriade
Artistic direction and soundtrack: Cornel Mihalache
Scenography: Gyöngyi Újvárossy Kerekes
Premiere date: December 17, 1991
With a specific acuity of vision, playwright Alexandr Ghelman captures a family drama "at a moment when the emotional tensions - the accumulation of dissatisfaction and cowardice hidden under the masks of convenience, of suppressed vanities - are discharged in a furious quarrel between the spouses, triggered by a work accident in which the son lost his arms.
Andrei Golubev had an unhappy family life, Natasha also had an unhappy life, alongside the man she loved and from whom she gradually became estranged, as he climbed, step by step, in the hierarchy of a large construction trust. We, the viewers, are presented not with the moments of disintegration, of the tearing apart of this life; these moments had taken place in the hidden folds of each person's soul, when they had betrayed each other and each of them themselves, out of the desire to succeed in social life (…) The law of compensation, an economic law, says that there is no gain without loss; Golubev won, he finally became the director of the trust, an important link in the endless chain of production relations, but at the cost of his son's physical infirmity and at the cost, more bitterly, of his own spiritual infirmity (…).
Engineer Golubev is guilty of the loss of authenticity, Natasha is also guilty of complicity, but the names of other culprits are also mentioned: Goncearov, the director of the trust, the one who distorted Golubev in the sense of "necessary" social hypocrisy, and others, who are in more or less personal relationships with the Golubevs. A whole vicious circle of lies and fear is guilty, in which the fear of lies is prevented by the lies arising from fear. (…)„ (Constantin Radu-Maria, in the magazine "Teatrul", no. 12/1983)
Distribution:
Andrew: Ion Tomorrow
Natasha: Oana Mereuta
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Vasile Blejan, Balogh Iosif, Laviniu Goron
Sound: Sorin Domide
Comedy by Nikolai Erdman
Translation: CCBuricea-Mlinarcic
National premiere
Artistic direction: Cornel Mihalache
Assistant artistic director: Eugen Harizomenov
Scenography: Vioara Bara
Musical illustration: Cornel Mihalache and Eugen Harizomenov
Premiere date: November 7, 1991
A modern play with a composite structure, "We Are Urgently Looking for a Communist Son-in-Law" ("The Mandate") depicts, in a mixture of styles, ranging from 19th-century European vaudeville to Russian comedy, with notes of humor typical of cabaret shows, as well as grotesque elements from the tradition of tragicomic farce, the confusion of Russian society that followed the great historical upheaval produced by the Bolshevik Revolution of 1917.
From the historical crossroads they find themselves at, the characters do not know what the future will bring: a stabilization of the newly established Soviet regime, or a failure of the revolution and a return to their familiar state (a symbol of this state of affairs is a painting in the Gulyachikin family apartment, depicting "A Night in Copenhagen" on one side and the portrait of Karl Marx on the other). In this social earthquake, both the old Tsarist aristocracy and families of more modest origin seek solutions for preservation or advancement among the most diverse, but equal to a simple and useless self-deception. Pavel Gulyachikin and his people believe that joining the communist party and being related to an aristocratic family will ensure their well-being; on the contrary, the aristocratic camp hopes that misalliance (and the marriage of a family member to an authentic communist) will improve their social origin, considered unhealthy. In this sense, dominated by personal interest, Pavel Guliacikin wants to be a communist at all costs, even presenting a mandate to prove his membership in the party.
Attached to the past, nostalgic for the Tsarist era, Tamara, Nadezhda Petrovna's friend, brings a dress that once belonged to Empress Alexandra to her house, to be kept safe. The cook Anastasia, trying on the dress, is mistaken for the empress's daughter, and this is where the farce begins...
Distribution:
Pavel Gulyachikin: Petre Panait
Nadezhda Petrovna: Mariana Vasile
Barbara: Ileana Iurciuc
Ivan Ivanovich: Eugen Harizomenov
Nastya: Oana Mereuta
Tamara: Mariana Neagu
Smetanici: Marcel Popa
Valerian: Dorin Presecan
Anatoly: Doru Firte
Antonin Sigismundovich: Nicolae Barosan
Agafangel: Nicholas Thomas
Feliciata Gordeeava, The Woman with the Parrot, Aunt: Alla Tautu
Ariadne: Ofelia Fîrte
The Flasher: Eugen Tugulea
In other roles: Ion Ruscut and the child Alexandru Firte
Technical director: Florin Popescu
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Stelian Panea
by Slawomir Mrožek
National premiere
Translation and artistic direction: Alexandru Colpacci
Scenography: Emilia Jivanov
Musical illustration: Delia Şerban
Stage movement: Francisc Valkay
Premiere date: September 24, 1991
The play "The Slaughterhouse" is built around the opposition between the pleasures of life (symbolized by the Violinist's attraction to the Flutist) and sublimation through art. The protagonist, a Violinist in search of the affirmation of his genius, retains deep down a childhood experience; he lives under the domination of his mother, an intelligent, experienced woman who is aware of this, but who fears that her son, now an adult, will no longer belong to her alone. The only means of keeping him close is art. The play evolves on the shifting terrain where eroticism and motherhood confront each other.
The contemporary plot is grafted with elements borrowed from the theater of the absurd and even from surrealism. Through its ideological complexity, the play invites reflection on the nature and functions of art, on the search for identity, on modern dreams and fears, on human freedom and dignity. In the end, what disturbs us more deeply: the roars of sacrificed animals or the sweet, divine sounds of a Mozart concert?
Distribution:
Parent: Simona Constantinescu
The flutist: Mariana Presecan
The violinist: Daniel Vulcu
Paganini and the Butcher: Tiberiu Covaci
Philharmonic Director: Ion Abrudan
Goalkeeper: Ion Ruscut
Butcher: Ioan Munteanu, Alexandru Luca, Sorin Precup, Florin Tripa, Florin Stan
The child: Dorin Presecan Jr.
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sound: Sorin Domide
Piesă în două părţi Peter Shaffer
Reluarea spectacolului din stagiunea 1985/1986
Translation: Beatrice Staicu
Artistic direction: Alexandru Darie
Asistent regie: Cristian Şofron, Anca Bradu
Scenography: Maria Miu
Ilustraţia muzicală şi la pianoforte: Gheorghe Hausmann
Licht-designing: Alexandru Darie
Special paintings: Amalia Perjovschi, Kudelász Iosif, Maria Miu, Kovács Ecaterina
Data reluării: 21 septembrie 1991
In „Amadeus,” Peter Shaffer combines history and fiction to present aspects of the last years of Wolfgang Amadeus Mozart’s life. The play explores the rivalry between Mozart and Antonio Salieri, the court composer of the Austrian Emperor in the late 18th century. Envious of the young Mozart’s talent and unhappy with his own mediocrity, Salieri cannot understand how God could have bestowed such incredible grace on the eccentric Mozart, after he himself had made a „pact” with the Divine. He denies God and plots to destroy his rival by any means possible. In Salieri’s inner world, envy is combined with admiration, almost love, for Mozart’s music. Salieri understands the exceptional qualities of Mozart’s music better than anyone else, and this mixture of hatred and appreciation makes him one of the most complex characters in universal drama. Also, although it bears Mozart's name (Amadeus - the beloved of God), the story is told from the perspective of Salieri, old and preparing for death, illustrating intolerance, but meditating on genius.
Considerat „unul dintre momentele de vârf ale anului teatral 1986” (Dinu Kivu), „o performanță scenică națională… un veritabil eveniment teatral” (Victor Parhon), „unul dintre cele mai importante spectacole ale anului” (Valentin Tașcu), „Amadeus” e reluat cu importante schimbări de distribuție în 1990, în regia aceluiași Alexandru Darie.
Distribution:
Antonio Salieri: Ion Tomorrow
Costanza Weber: Oana Mereuta
Wolfgang Amadeus Mozart: Cristian Şofron, Doru Fîrte
Venticelli 1: Simona Constantinescu
Venticelli 2: Laurian Jivan
Joseph II, Emperor of Austria: Emil Sauciuc, Ion Abrudan
Count Von Strack: Marcel Popa
Count Orsini-Rosenberg: Marcel Segărceanu, Petre Panait
Baron van Swieten: Dorin Presecan
Caterina Cavalieri: Ileana Iurciuc
Teresa Salieri: Mariana Vasile
Salieri's cook: John Moldovan
Salieri's valet: Alexander Luke
Curtea vieneză: Alla Tăutu, Mariana Presecan, Simona Constantinescu, Ofelia Fîrte, Sorina Laza, Olivia Steer, Maria Erdodi, Ioana Sălăgean, Florin Tripa, Florin Stan
Technical director: Florin Popescu
Prompter: Zeina Druica
Lighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
Sonorizarea: Valentin Bodonea, Stelian Panea
Poetry theater
Selection of lyrics: Elisabeta Pop and Sergiu Savin
Direction and scenography: Sergiu Savin
Premiere date: January 22, 1991
Interpreters:
Ileana Iurciuc, Alla Tăutu, Mariana Presecan, Elisabeta Márton, Ildikó Kiss, Enikő Kovács, Oana Mereuţă, Daniel Vulcu, Ion Mainea, Ion Ruscuţ, Dorin Presecan, Petre Panait
The following poets were invited:
Nicolae Brânda, Ion Davideanu, Teodor Crişan, Viorel Horj, Sándor Fábián, János Zudor, Gheorghe Moldovan, Traian Ştef, Ioan Moldovan, Ioan F.Pop, László Dénes, Sergiu Vaida, Radu Enescu, Constantin Mălinaş
by Lucian Blaga
Absolute premiere
Artistic director: Tudor Chirilă
Scenography: Claudiu Mărgineanu
Musical illustration: Claudiu Frunză, Iosif Trendler, Oana Mereuţă
Premiere date: April 27, 1991
An expressionist piece, with strong psychoanalytic and philosophical accents, "Ivanca" has as protagonists four fragments of human individuality: The Father - hypostasis of primary energy; Ivanca - manifestation of the same vital cosmic elan; the painter Luca - embodiment of the Apollonian, but also crushed by obsessions, and his friend, Dinu, who shares his orientations, but tempers his destructive impulses. The greatest fear of the painter Luca is that of not killing, followed by the terror of the passage of time, embodied by the absurd mechanism of a clock in the house. His refuge is the sublimated painting of Byzantine angels and archangels, through which the artist hopes to capture a fragment of holiness, of divinity. With Ivanca's arrival at the house, Luca senses that something bad will happen, because the "old fires" buried in the flesh revive in the presence of his living and stirring body. The tension accumulated in the painter's consciousness will spill out through the affirmation of the unconscious, in the hallucinatory scene of the visit of the ten ancestors. The ten "tenants of pleasures" suggest the repression of instinct, of the pleasure that demands to be fulfilled through Ivanca's female body. This pleasure, however, will be experienced by the Father, who loves "goddesses and servants, without distinction, as at the age of puberty" even in old age. After the moment of madness experienced upon learning of this fact, Luca admits the futility of his attempt to control his blood and the inability to be only a "pure spirit", conscience and morality. Liberation is not long in coming: loneliness no longer attracts Luca, but joy, life, friendship, he is now able to wear his halo of sainthood among people.
Distribution:
Luke: Dorin Presecan
Ivanka: Oana Mereuta
Father: Ion Tomorrow
Dinu: Doru Firte
The maid: Mariana Vasile
Dreamed figures: Petre Panait, Daniel Vulcu, Tiberiu Covaci
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lights: Balogh Iosif
Sound: Sorin Domide
AWARDS:
–Second Prize for the performance and Tudor Chirilă: the award for directing, at the 8th edition of the Short Theatre Week, Oradea, 1991
Patru monologuri de Aldo Nicolaj
Regia: Sergiu Savin
Scenography: Vioara Bara
Ilustraţia muzicală: Nicolae Moranciu
Data premierei: 26 aprilie 1991
Bărbatul
Translation: Florian Potra
Franchina: Mariana Vasile
Meridionalul
Translation: Florian Potra
Peppino: Ion Abrudan
Autograful
Translation: Angela Ioan
Marcella: Oana Mereuta
Cecilia
Translation: Polixenia Karambi
Cecilia: Alla Tautu
Technical director: Eugenia Popa
Prompter: Iuliana Chelu
Lighting: Balogh Iosif, Laviniu Goron
Sound: Stelian Panea, Sorin Domide
AWARDS:
La ediţia a VIII-a a Săptămânii Teatrului Scurt, Oradea, 1991:
-Vioara Bara: Premiul pentru ambianţa spectcolului Întunericul zilei, lumina nopţii
-Oana Mereuţă: Premiul de interpretare pentru cel mai bun rol comic
Comedy in two parts by Bernard Slade
Translation: Mircea Bradu
Artistic direction: Michel Linday (József Szentmiklósi)
Scenography: Maria Haţeganu
Music illustration: Zoltán Rezműves
Premiere date: March 19, 1991
In February 1951, George from New Jersey and Doris from Oakland have a romantic affair at the "Sea Lily" motel in northern California. Although each is married to someone else, and therefore committing adultery, they decide to reenact their affair every year, on the same date. For twenty-four years, they meet again under these auspices and build, little by little, a charming emotional intimacy that allows them to discuss without restraint events in each other's families, but also the social changes around them.
Distribution:
Doris: Ileana Iurciuc
George: Petre Panait
Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Sound: Stelian Panea
Comedie în trei părţi de Brandon Thomas
Traducerea: Mihai Mihail
Artistic director: Eugen Mercus
Decor: Vioara Bara
Costumes: Maria Hateganu
Compoziţie muzicală: Ludovic Boross
Data premierei: 20 decembrie 1990
Ingenioasa comedie scrisă de Brandon Thomas aduce în prim-plan peripețiile unui grup de studenți de la Oxford, înclinați spre farse și jocuri tinerești și aflați sub impulsul chemărilor dragostei. Evenimentul declanșator al evenimentelor este vizita mătușii lui Charles, Donna Lucia d’Alvadorez din Brazilia, o văduvă bogată, pe care nepotul nu a întâlnit-o niciodată. Vizita acesteia este o bună ocazie pentru ca Charles și prietenul său, Jack, să își declare dragostea față de Annie, respectiv față de Kitty, care sunt invitate să o cunoască pe misterioasa mătușă. Lord Fancourt Babberly (Babbs), un coleg de-al lor, este și el invitat la reuniune, pentru a-i ține companie mătușii în timp ce Charles și Jack își vor face cunoscute sentimentele față de tinerele fete.
Întârzierea mătușii dă naștere unei avalanșe de încurcături hazlii, dintre care cea dintâi este deghizarea lui Babbs și prezentarea lui sub falsa identitate a Donnei Lucia. Aceasta, sosind în cele din urmă, constată că cineva i-a luat locul și, pentru a afla mai multe, se prezintă drept doamna Beverly-Smythe, o văduvă săracă. Perechilor Jack-Kitty și Charles-Annie li se alătură alte două cupluri care trebuie să rezolve problema identității înainte de a-și găsi împlinirea: Babbs-Ella și Donna Lucia-Sir Francis (tatăl lui Jack).
Și cum se cuvine într-o farsă care se respectă, totul se termină cu bine, demonstrând că iubirea, fie ea abia născută sau regăsită, poate fi apanajul tuturor vârstelor…
Distribution:
Lord Franck Babberley-Babbs: Daniel Vulcu
Jack Chasney: Doru Firte
Charley Wykeham: Dorin Presecan
Sir Francisc Chesney: Nicolae Barosan
Doamna Lucia d’Alvadorez: Mariana Neagu
Stephen Spetigue: Eugen Tugulea
Kitty Verdun: Ileana Iurciuc
Annie Spetigue: Mariana Presecan
Ella Delahay: Oana Mereuta, Ofelia Fîrte
Brastett: Petre Panait
Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Ilustraţia muzicală şi sonorizarea: Stelian Panea
Comedy by Pierre Chesnot
Translation: Marica Beligan
Artistic director: Szombati Gille Otto
Decor: I. Géza Bíró
Costumes: Gyöngyi Újvárossy Kerekes
Premiere date: December 4, 1990
Abandoned by his wife, Juliette, and forced into retirement against his will, Maxime Martineau, aged 65, finds himself alone and depressed on the terrace of his second home. He may not be in shape, nor does he lack the zest for life, but he is no longer young or attractive, so he no longer finds his place in the working world, and his life seems to be reduced from now on to pruning roses…
Discovering that his land borders a plastic surgery clinic run by Dr. Ferenbach, Maxime decides to entrust himself to him for a facelift, which miraculously rejuvenates him by about twenty-five years. From here, it is only a step to an idyll with Alexandra, his young and charming neighbor. Together, they swim, play tennis and dance, activities in which Maxime has difficulty hiding his real age, difficulties that culminate in a sudden and inappropriate attack of lumbago during a romantic dinner.
What Maxime doesn't know is that his girlfriend, even his future wife, is also a former patient of Dr. Ferenbach and that young Marion is not his sister (as she had been introduced to him), but his daughter. The approaching wedding and the appearance of Juliette, who has arrived to congratulate her ex-husband and childhood friend Alexandra on the happy event, force the two to end the masquerade and confess their real ages... just in time to head to the registry office to seal their undying love.
Distribution:
Maxim Martineau: Ion Tomorrow
Madame Robert: Mariana Vasile
Juliette: Simona Constantinescu
Dr. Ferenbach: Ion Abrudan
Alexandra Bertoux: Oana Mereuta
George Bertoux: Marcel Popa
Marion: Lavinia Steer
Technical director: Eugenia Popa
Prompter: Florence Szabo
Lighting: Iosif Balogh, Laviniu Goron
Musical illustration and sound design: Sorin Domide
Comedy by Carolyn Green
Translation, artistic direction and scenography: Eugen Harizomenov
Premiere date: June 28, 1990
Every summer, Jessica and Denny take refuge for two months in an apartment in Washington Square, New York. The two are married, but… not to each other. Jessica is the wife of a big businessman, and Denny is the husband of a librarian. While the businessman is away in South America, and the librarian works surrounded by shelves and piles of books, the two live their secret idyll and write successful novels together, under the literary pseudonym Janus. Everything goes flawlessly, until, one after the other, their agent, Jessica's husband, a tax inspector, shows up in their apartment…
Distribution:
Jessica: Mariana Presecan
Miss Addy: Ileana Iurciuc
Denny: Doru Firte
Bill: Dorin Presecan
Harper: Tiberiu Covaci
Technical director: Florin Popescu
Prompter: Florence Szabo
Lights: Laviniu Goron
Musical illustration and sound design: Valentin Bodonea
Comedy by Arthur W. Pinero
Translation: Valeriu Moisescu
Artistic director: Ion Mainea
Assistant director: Eugen Harizomenov
Scenography: Maria Haţeganu
Premiere date: May 18, 1990
What lies behind the neat manners, politeness and strict morals that govern the British aristocracy since the late Victorian era? Lies, compromises and small deceptions, secrets that can destroy even the most respectable family.
When she married her second husband, the magistrate Aeneas Posket, Agatha lied to him about her real age, claiming to be five years younger. To corroborate the lie, she claims that Cis, her son from her previous marriage, is fourteen instead of his real nineteen. His "precocious" inclinations to flirt, drink, and gamble do not fit in with her mother's lie.
Distribution:
Mr. Posket: Ion Tomorrow
Colonel Lukyn: Eugen Harizomenov
Captain Horace: Nicolae Barosan
Mr. Bulami: Laurian Jivan
Cis Farrington: Doru Firte
Wyke: Dorin Presecan
Blonde Achilles: Ion Ruscut
Mr. Wormington: Marcel Segărceanu
Inspector Messiter: Eugen Tugulea
Sergeant Lugg: Tiberiu Covaci
Agatha Posket: Mariana Neagu
Charlotte: Florence Manea
Beatie Tomlinson: Coca Zibilianu, Lavinia Steer
Popham: Ofelia Fîrte
Isidore: Ion Munteanu
Technical director: Florin Popescu
Prompter: Zeina Druica
Lights: Vasile Blejan, Laviniu Goron
Musical illustration and sound design: Stelian Panea
Comedy in four acts by A.P. Chekhov
Translation: Elisabeta Pop and Laurian Oniga
Directed by: Laurian Oniga
Scenography: Gyöngyi Újvárossy Kerekes
Premiere date: March 22, 1990
At the end of the 19th century, May settles smoothly in Russia, on the estate of the brothers Leonid Andreevich Gaev and Lyubov Andreevna Ranevskaya, who have just returned from Paris after a five-year absence. The cherry blossoms remind them of their childhood; everything seems the same as then and yet, nothing is as before. In Paris, Ranevskaya has squandered her share of the inheritance on fashionable expenses with an anonymous lover, and the estate no longer brings them as much income as before. The merchant Ermolai Alexeevich Lopakhin informs them that the only way to pay off their debts and ensure the family's survival is to sell the entire estate in order to build villas, in the spirit of the economic and social transformations that announce the establishment of a new historical era. Nostalgic and absorbed by their attachment to the orchard, the two brothers at first categorically refuse to sell it. However, the precarious material situation of the entire family will leave them no other option. Lopakhin will buy the estate at auction, fully experiencing the satisfaction of being the owner of the place where he grew up, but where his grandfather and father had been slaves. Torn between the joy of this symbolic revenge and the sadness of losing dear places and people, he destroys the orchard, where everyone's dreams are buried, with each muffled blow of the axe.
Beyond this narrative thread, Chekhov's play is more than the simple story of the sale of a huge orchard, a house and a children's room. With the sale of the orchard, an allegory of the passing of time, the act of disappearance of a once all-powerful society is signed. Moreover, what happens, in the case of definitive departures, to the memories of those who leave? How can the past and the present of our lives be reconciled? How can we find the strength to leave without dying, as the well-known French saying goes?
Distribution:
Lyubov Andreevna Ranevskaya: Simona Constantinescu
Anya, her daughter: Mariana Presecan
Varia, her adopted daughter: Mariana Vasile
Leonid Andreevich Gaev, her brother: Ion Abrudan
Ermolai Alexeevich Lopakhin, merchant: Petre Panait
Piotr Sergeevich Trofimov, student: Doru Firte
Boris Borisovich Simeonov-Pişcik, landlord: Marcel Popa
Charlotte Ivanovna, governess: Alla Tautu
Semyon Panteleevich Epikhodov, accountant: Stefan Mares
Duniasha: Ileana Iurciuc
Firs, lackey: Nicholas Thomas
Iaşa, lackey: Emil Sauciuc
A passerby: Ion Ruscut
Technical director: Mărioara Goina
Prompter: Iuliana Murea, Zeina Druica
Lighting: Vasile Blejan, Iosif Balogh, Ioan Munteanu
Musical illustration and sound design: Valentin Bodonea
Comedy in three acts by Miguel Mihura
Translator: Mirela Petcu
National premiere
Artistic direction: Sergiu Savin
Scenography: Vioara Bara
Premiere date: February 7, 1990
Dionisio, an ordinary young man with a gray, conventional and prosaic life, in which he will immerse himself definitively by marrying Margarita, spends his last night as a bachelor in a hotel in a small town. There, he meets an actress with whom he falls in love. Paula introduces him to a world of poetry, joy and the unexpected, where fantasy and reality are intertwined, leading Dionisio to question the established values of his provincial existence, devoid of humor and imagination. Will he follow this freedom unknown until then?
Distribution:
Dionisio: Daniel Vulcu
Paula: Coca Zibilianu
Fany: Mariana Presecan
Madame Olga: Anca Miere Chirilă
Sagra: Mariana Vasile
Carmela: Ofelia Fîrte
Baby: Stefan Mares
Don Rosario: Eugen Tugulea
Don Sacramento and the Cunning Hunter: Ion Abrudan
The hateful gentleman: Laurian Jivan
The old military man: Marcel Segărceanu
The handsome boy: Emil Sauciuc
Trudy: Mimi Nemeth
The romantic in love: Sorin Domide
The cheerful explorer: Csaba Vari
The first show after the December 1989 Revolution
The proceeds were paid into the Freedom Fund.
The show was made up of poems, skits, and joyful moments banned until 1989 or censored throughout the communist regime: Mihai Eminescu, Ion Caraion, Mircea Dinescu, Marin Sorescu, Ana Blandiana, Nina Cassian, Şt.Aug.Doinaş
Screenplay: Elisabeta Pop and Sergiu Savin
Artistic direction and set design: Sergiu Savin
Costumes: Violin Bar
Premiere date: January 6, 1990
Interpreters:
Nicolae Toma, Ion Abrudan, Nicolae Barosan, Simona Constantinescu, Alla Tăutu, Eugen Ţugulea, Anca Miere Chirilă, Eugen Harizomenov, Ion Mâinea, Simona Constantinescu, Ileana Iurciuc, Tiberiu Covaci, Doru Fîrte, Laurian Jivan, Marcel Popa, Mariana Presecan, Dorin Presecan, Ion Ruscut, Petre Panait, Emil Sauciuc, Mariana Vasile, Daniel Vulcu, Coca Zibilianu, Marcel Segărceanu
