„This play can be called a classic psychotherapeutic drama. In cinema and popular culture, especially in TV series, there are many successful examples of this genre – but in theater, almost none. The story of a doctor and his patient (or, as in this case, a female patient) almost always goes beyond the boundaries of medical practice, addressing a much wider range of problems – not only personal, but also social, historical and even philosophical. From the very beginning, we leave the audience free to know how the story will end. We do not turn Arthur Miller's narrative into a detective novel. We simply observe how events unfolded. We invite the audience to follow the nuances and deeply human character of the characters.” – Timofey Kuliabin

„"The title of another equally fabulous play by the great American playwright Arthur Miller, The Price of (The Price), defines the central theme of the new production titled The Broken Mirror. It is about the price that those around the protagonist must pay for her healing.

In recent years, we have been confronted with the reality of the so-called „new ethics” – a system of rules and restrictions through which society, driven by the best intentions, tries to regulate relations between people. As we know, the process of adopting these rules sometimes leads to deeply dramatic conflicts, as a result of which not only reputations and careers, but sometimes even human lives are destroyed. Today, looks, intonations, gestures, words – not to mention deeds and behaviors – are interpreted completely differently than they were perceived two or three decades ago.

This production features a character absent from Arthur Miller's original play – the clinic director, who conducts his own investigation into the results of the heroine's treatment. He tries to find out if any of these "new rules" have been violated. The doctor does indeed perform a small miracle – he gets a patient back on her feet whom no one else could cure. But his intervention in the complicated personal life of the family who asked for his help leads to its disintegration – even if it was not an ideal family even before.

Was the doctor entitled to use the methods he applied? Can the treatment be considered a success if one person is cured at the expense of another? Where is the line beyond which healing becomes manipulation? There is no definitive answer to this question – neither from Arthur Miller, nor from the characters, nor from the creators of the show. The goal is to raise the question and invite the audience to formulate their own answer.

It should be remembered that the piece Broken Glass was written in the mid-1990s, and the action takes place in the late 1930s. The rise of the Nazis in Germany, the persecutions against the Jews, and the events of Kristallnacht are essential to Miller's plot. Today, the historical circumstances are quite different, but the theme of various forms of anti-Semitism has unfortunately become frighteningly topical again. And although this topic occupies a less central place in the new version than in the original play, it remains an important one.” – Roman Doljanski

Distribution:
Phillip Gellburg: Eugene Neag
Sylvia Gellburg: Denisa Irina Vlad
Dr. Harry Hyman: Razvan Vicoveanu
Jessica: Anda Tamasanu
Robert Wilson: Richard Balint
Stanton House: Alexander Rusu

Directed by: Timofei Kuliabin
Screenplay: Roman Doljanski
Original music: Timofei Pastuhov
Scenography: Oleg Golovko
Translation: Raluca Radulescu

Show recommended for people over 18 years old!

Premiere date: November 16 and 17, 2025, Great Hall