Today is a big day for Pastor Paul's congregation. The church he leads has "hundreds of seats, Sunday school classrooms, and a baptismal font the size of a swimming pool," and he stands before his parishioners to tell them that today, all the costs of these constructions are paid for. But Paul has other news, which does not fit into the usual pattern of the community of believers.

A show about the fear of questioning axioms, which, although attested by their very antiquity, lose their magic when carefully analyzed. The story told by Lucas Hnath can be associated with The myth of the cave of Plato, without projecting value judgments on the truths of faith. Pastor Paul tries to offer another interpretation to one of the ideas with which we are so accustomed to attributing a certain image that it would not occur to us to try to reinterpret it. This is just an example, however, because limiting beliefs are present in different forms and in all the planes that shape our existence.

"Politics is like fashion! It evolves, it changes, it pretends. Fidelity in politics is nothing but an endless series of adulteries!" says the main character in …I am afraid. to justify his political career. Tudor Mușatescu wrote his play in 1933, a year after Titanic Waltz, but its heroes seem like modern-day people.

The children of Spirache Necșulescu, the petty official from Titanic Waltz, winning the election because he says, "Don't vote for me!", looks nothing like their father.

The twelfth grade students, excited and eager to have fun, experience, in addition to the excitement caused by the imminent baccalaureate exam, tensions sparked by the appearance of the new French teacher, "cool, young, dark-haired, tall...", in whom the girls discover an adonis, and the boys a rival.

This novelty gives rise to conflict situations, for the smoothing of which it is necessary to intervene even the headmistress, whose interest is also directed towards the young teacher. The naivety from which the misunderstandings erupt creates the comic of the situation, making up an original, cheerful and lively show.

Both the events themselves and the way they are staged, clothe the show in a cloak of universality, making it accessible to viewers, who, regardless of age, will easily be able to identify or empathize with any of the characters.

Fiddler on the Roof is a timeless show, a classic musical, which has been played on Broadway since 1964, remaining one of the longest-running shows on this stage (it is currently the 16th most played Broadway show in history, and the first musical to exceed 3,000 performances). The film adaptation Fiddler on the Roof contributed to its popularity, which today has become a cultural landmark not only for the Jewish community, but for the entire world through its universal humanitarian message.

Fiddler on the Roof It is a monumental production, with imposing sets, a large cast that requires good voices, complex choreography, a live orchestra, and authentic costumes.

Set in the early 20th century, during a period of suffering for the Jewish community in Imperial Russia, the pogrom threatens to destabilize Jewish cultural and religious values. The unpretentious life of a Jewish villager, the head of a simple family in Anatevka, therefore stands in a precarious balance like that of a fiddler on the roof, struggling to maintain vital balance and harmony. History is felt in the deepest corners of this village, not placed in a real geography, but which tells with sensitivity and humor, unfortunately a story whose realism still shakes us today.