„"Uncle Vanya" tells us about how people move on, sometimes clumsily, sometimes with unexpected certainty, searching for meaning and a trace of love in days that seem to repeat themselves endlessly. A warm, deeply human and equally timely show, in which a smile appears exactly when you least expect it.

The domestic comfort of two couples is disrupted by a petty suspicion and a hastily improvised alibi. The lie, told to save face, quickly gets out of control and draws a third couple, completely strangers to the conflict in which they find themselves caught, into an absurd game.

The situation reaches its climax in a common space, where the characters end up sharing the same table and the same decor, but without sharing the same reality. Each couple lives their own version of the truth, and the overlapping of these parallel realities generates an irresistible comic tension and constant suspense.

How the other half loves is a sparkling comedy about the erosion of relationships, poor communication and the often ridiculous efforts we make to maintain an impeccable image of married life. With a subtle British humor and a dizzying pace, the show invites the audience to look, as if through a keyhole, at a domestic disaster constructed with precision and irony.

A queen with magical powers makes an extraordinary plan to save her daughters from the empire of men: she causes a shipwreck and retreats with them to a deserted island to build a republic of women, at the cost of sinking an entire army. But there they get a huge surprise when they discover that the island is already inhabited by three men, a father with his two sons, who have isolated themselves to protect themselves from the suffering caused by women. Faced with this new reality and disappointed that their plans have failed, the queen and the boys' father must find new saving solutions. But the laws of attraction have their own plans.

„"Tenderness"”, by Alfredo Sanzol, is a romantic comedy with echoes of Shakespearean opera, which transforms the "war of the sexes" into a humorous game. Beyond satires on patriarchy, resentment and the desire for control, the show speaks of the fragility of people in the face of love and the imperfect but necessary possibility of reconciliation.

Dramatis Personae:

Emerald Queen: Giorgiana Coman
Princess Salmon: Anca Sigmirean
Princess Ruby: Alina Leonte
The Brown Woodcutter: David Constantinescu
The Woodcutter Verdemarin: Eugene Neag
The woodcutter Bleuciel: Pavel Sirghi

Directed by: Michael Gligan
Playwright: Vlad Salbatecu
Decor: Előd Golicza
Costumes: Cristina Breteanu
Sound design: Richard Balint

Show recommended for people over 14 years old!
Premiere date: March 15, 2026, Transilvania Hall

Inspired by the matrimonial advertisements of the time, the series of humorous sketches "Tanța și Costel" was a resounding success, becoming a benchmark of the Romanian comic couple, both on stage and on television. The show brings together, in the form of a scenic puzzle, a series of scenes that follow with humor and irony the conjugal life of the two, from the decision to get married to the conflicts, tense or deliciously comical situations of living together. Tanța and Costel are ordinary people, with flaws, clumsy language, desires and dreams, captured in a comic mirror that exaggerates traits and situations to reveal both the differences between the spouses and the love that, however flimsy, remains the essence of their relationship.

The Awakening follows the story of Amalia, a 16-year-old student at a prestigious high school, caught between the need for validation, the pressure to perform, and the invisible violence of the online environment. The announcement of her qualification for the national stage of the Romanian Olympiad sparks an avalanche of reactions, but not on the high school page, but in the unmoderated and uncontrollable parts of the internet – culminating in a compromising image that begins to circulate among her classmates and on the city's gossip pages.

„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

„"Năpasta" is the only play written by Ion Luca Caragiale in the tragic register, a creation that has sparked a polarized critical reception over time, oscillating between accusations of plagiarism and recognition of its dramaturgical value.

"Carnival's" brings to the stage Caragiale's unmistakable comedy, full of consuming passions, delicious intrigues and absurd situations. The hairdresser Nae Girimea juggles between Mița Baston and Didina Mazu, while their partners, Pampon and Crăcănel, jealous and ridiculous rivals, launch themselves into a veritable hunt for "Bibici". The love entanglements mix with gossip and small intrigues, so that everything culminates in a masked ball, where the absurdity and humor of the mistakes already triggered reach their peak.

His directorial vision Vlad Trifas but it goes beyond the simple comedy of situations and love entanglements. It brings to the fore the depth of the characters, through settings and interpretations that evoke an accentuated Balkan universe, which naturally merges with the irony and humor of Caragiale. The noblest feelings collide with the raw impulses of the slum, reason is suspended, and the characters abandon themselves to an unbridled pathos, which only people with an unbridled appetite for life can manifest with such naturalness.

The staging of the show D'ale carnavalului was born in a laboratory state, where the entire team explored Caragiale's deeply human humor. His typologies do not belong only to the past, but breathe around us, people who burn at high temperatures, ready to explode at any moment, because their world – like ours – always operates on the edge.
Carnival becomes the metaphor for this tense universe, where masks, appearances and intentional confusions create a permanent danger of explosion. The laughter that the show proposes is not only comical, but necessary: a mechanism of liberation and recognition in a reality where human fragility and ridicule inevitably coexist. – Vlad Trifas

by Andrew Bovell | translation: Vlad Bălan

We all need a safe space, where we know we can return when life doesn't go the way we wanted it to. A place of our own, where we can protect ourselves and where things remain intact, as we've always known them. But what happens when we find that personal shelter crumbling due to a weakness we didn't know about or chose to ignore?

Rosie, the youngest of the Price family, is on a trip through Europe on her gap year and is forced to return home to find her balance. Here, she is welcomed by the whole family and, for a moment, everything seems unchanged: the father, who takes care of the rose garden, the mother, who has a solution for everything, Ben, who can't seem to maintain a relationship, Mark, who has always been the more withdrawn brother and Pip, who seems to live a happy life with her husband and two children. However, this image is just an illusion that is about to disappear when the unspoken things between them come to the surface, and the relational balance that proves fragile is put to the test.

by Maria Lado, directed by Elvira Rîmbu

The show is a very simple story. A story about love: the love between a boy and a girl, the love for others, the love for animals...

A story about the torments of choice and the spirit of sacrifice. A story with people, souls and even angels. With laughter, with tears… a mix of comedy, drama and lyricism. As in life, all these three elements go hand in hand.