Blue.Yellow.Red

At first, it was the shock produced by Radu Macrinici's play. I was in the winter of '97 when, judging by the UNITER contest for the best piece of the year, I was briskly mute about this text: it was too good, the characters were too strong, the parabolic of the intrigue too, too refined the dose of cruelty and suavity In the moral (not at least thematic) substance of the scenic relationships, for not destroying your prejudices and feeding your old suspicion. Prejudice, I say, because until then I had never thought that the theatre could convincingly engage in displaying the communist nightmare, illustrating the traces of Ceauşism. Well, Macrinici's play-in her quasi-expressionist nudity-has proven to me that, however, the power of suggestion and the ability of the parable can fill the documentary alluvium, epic stories, and the authenticity of memorials. "
Dan C. MIHĂILESCU, The man who brings the book

"If the security investigator trains, studying the atlas of human anatomy, the little girl discovers on her own, studying the atlas of the country's beauty, that man is the only beauty that is missing. The characters of the play are emblematic for a theme of guilt, complicity, which we are still afraid of many, to bring them to light. Radu Macrinici's text is a piece of authentic dramatic literature by which the author is determined to be one of the few remarkable dramaturgists for the theatre after 1989. "
Marian POPESCU, The Scenes of Romanian Theater. 1945 - 2004

More than a quarter of a century since the Romanian Revolution of 1989, this evening's show invites you to sit down comfortably again in the armchairs, this time not in front of the TV, like in December, but on the stage of a theater , To reflect on what happened in those days, and especially on what might have happened to us, had there not been those "beautiful street madmen