Seasons Archive

All My Sons

by Arthur Miller

All My Sons

by Arthur Miller

Translation: Alf Adania
Ion Caramitru
Light design:
Chris Jaeger
Dragoş Buhagiar
Daniel Gontz
Original Music:
Vlaicu Golcea
Assistant Scenography:
Sorina Iuganu, Vladimir Iuganu

Premiere: 12.09.2009

Last performance: 20.10.2019

Duration: 2 h 40 min / Pause: Yes


VIP - 100 lei (loja oficială)
Cat. I - 50 lei
Cat. II - 40 lei
Cat. III - 20 lei (reducere pentru elevi, studenți și pensionari)

All my sons, the play written and staged in 1947, is the one that propelled Arthur Miller to the public eye of the American audience and critics and the one that brought him his first Tony Award. The story, which follows the rules of the Greek tragedy of time, space and action, is inspired from a real story that the playwright found in a newspaper. The action takes place in America, immediately after the Second World War, in a family that became rich by taking advantage of the arising opportunities. In the Kellers’ home, the drama runs deep. Three and a half years later, the decisions taken during the war have tragic consequences for the entire family.

All my sonsreturns to the National Theatre over half a century after its first staging in Romania, in 1948. The team back then was made up of Aura Buzescu in Katty Keller’s role and Liviu Ciulei, who signed the scenography of the performance. All My Sons, a staging which is part of the NTB’s project Universal Theatre Today, is a recovery of an important piece of American dramaturgy, almost unknown to the Romanian audience, and it will certainly be a successful performance.

Joe Keller: Victor Rebengiuc Kate Keller: Sanda Toma
Chris Keller: Dragoş Stemate Ann Deever: Costina Cheyrouze
Fulvia Folosea
Dr. Jim Bayliss: Dorin Andone Sue Bayliss: Vivian Alivizache
Victoria Dicu
George Deever: Ioan Andrei Ionescu
Frank Lubey: Gavril Pătru Lydia Lubey: Irina Cojar
Bert: Luca Dăscălescu

To open the season at the National Theatre of Bucharest with a play by Arthur Miller means ensuring before the premiere a success from „esteem" upwards. And if Victor Rebengiuc heads the bill, one can also count for sure on the audience success. (...) Caramitru does not make the mistake of updating the play, but stages it as "retro" as possible. He feels that it is the moment for us, if not of a generation conflict, at least of a discussion on the suspicious wealth and late consciousness of its acquisition, "for you not to be as poor as I have been", as Joe says (an exceptional Victor Rebengiuc), who has escaped prison blaming his associate and former neighbour, the only one who would have known about the cracks in the cylinders.

Cristian Teodorescu, Academia Caţavencu: Caramitru Kicks with His Left into Rebengiuc’s Right

The brave option of the National Theatre, of its manager, Ion Caramitru – the director of the show! – and the more applauded the triumph.  (...) The first who believed in the text was the director. One can also discern in his show constructed without fissure, fluently, with dramatic nodes by the book, a dignified intellectual poise, deserving of the discussion it initiates.

Doina Papp, Liternet – Cultural Bucharest: A Modern Tragedy

(...) to me, the crown of this authentic theatrical event, whereby the National Theatre of Bucharest opens the season 2009-2010 seemed to me – and really is - Sanda Toma! (...) In this show directed by Ion Caramitru with his talent and sharp mind, I dare say, a classical show, not forcing the construction of the play, not destroying the «narrative strategy» for the sake of an idea of «modernity», Sanda Toma performs the part of a spouse, of a mother tormented by the lie pushing her towards the descent into inferno. Thus, a very «dense» role for an exceptional actress, whose extremely rare gift has been «exploited» in all its nuances by first-rate directors.

Silvia Kerim, Formula AsA Sanda Toma...Feast! 

Certainly, this is the show of Sanda Toma, who builds a maleficent and vigorous character, tender in his moments of lucidity, but animated by a domineering folly. Sanda Toma’s performance deserves a great award. Joe Keller (Victor Rebengiuc) succeeds in slowly gliding beside the guilt. The actor aptly manipulates his character, carrying it from his chaise longue of rich industrialist to his own moral marsh. 

Dan Boicea, Adevărul: The Industry of Egotism 

The great revelation of this show is young actress Costina Ciuciulică, who in the role of Anna Deever, a kind of messenger of the gods sent to purify her fiancé’s corrupt family, reaches a level of dramatic intensity mingled with poetry, which we have not witnessed on the stage of the National Theatre for a long time. More than a young hope, Costina Ciuciulică confirms her genuine talent through this part.

Anca Ioniţă, Time Out: Review – All My Sons   

In a period teeming with directorial extravagances lacking substance, Ion Caramitru has chosen the path of the scenic truth. The theatre of authentic emotion has demonstrated once again its capacity to captivate and move.  

Andrei Băleanu, Deutsche Welle: All My Sons at the National Theatre

Director Ion Caramitru exploits with virtuosity the exponential increase of tension in Arthur Miller’s text, and the actors convey in fine nuances the contradictory emotions of the characters. (...) After the ending, which revealed to us that the ship resembling the house of the Keller family is, actually, the Titanic, we applauded rapturously, minutes in a row. Do not miss this wonderful show!

Gabriela Hurezean, 7 Plus: When the Father Kills His Sons

The show, whose perfectly articulate directorial concept bears the signature of Ion Caramitru is a success. It impresses through subtlety, through the way it is built in depth, in flesh, in core, without useless gesticulations. Without realizing, we find ourselves in the midst of a complex event, at the border of the bearable, a steamroller of consciences and of the irreversible. (...) Around an abandoned pool, filled with dry leaves, the characters are struggling between Yes and No, intransigence and compromise. (...) How much does a compromise with one’s own destiny cost nowadays? It is a story from America of the fifties, but it is also the story of any human being.

Răzvana Niţă, Blog – Where the Vultures Do Not Venture

"All my sons is, first of all, about responsibility. About how easy it is not to take responsibility for one’s own deeds. About pretexts. And about consequences. About the sickly fascination for money. About principles and dignity. About how much harm secrets can do. About guilt. About honour. And about how our mistakes can destroy the others… And also about ideals. About love and the way it can overcome life’s challenges. About family, with its good and maybe especially its bad sides. And about courage. It is a frightening and sensitizing show, at the same time. Unsettling. But also giving hope".

Mădălina Mihai, Cultural 21 – All My Sons. A Show Which Seems to Hurt…  


Translated by Simona Nichiteanu 

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