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The “I.L. Caragiale” National Theater in Bucharest announces a new premiere as part of the 9G Program at NTB, dedicated to young independent artists: “Yen” by Anna Jordan, directed by Ciprian Chiricheș, with set design by Maria Constantin, and starring Teodora Antal, Diana Pomparău, Sevi Stan, and Mario Monțescu. The premiere will take place on Sunday, April 19, 2026, at 7:00 p.m., in the Sala Mică Hall The play Yen tells the story—at times brutal, at times deeply tender—of two brothers surviving almost entirely on their own in a suburb, with a mother unable to provide them with the care a child needs. Together, amid arguments and violence, the two teenagers try to discover what affection—and first love—feels like and how to express it, in the absence of a parental role model. Thus, first love becomes a tough test, full of innocence and missteps. How much of our social skills are innate, and how much are acquired through our environment and the education we receive? It is a long-debated dilemma that remains relevant today, which author Anna Jordan explores with harshness and directness, yet with care and sensitivity toward her characters. Yen is about growing up, about family, and, above all, about the fundamental human need to love and be loved. „What won me over from the very first reading was the sincerity with which life—and, in particular, hope—is portrayed. In real life, things aren’t like in fairy tales, where Prince Charming appears out of nowhere and sets everything right. In reality, we often long for something we cannot have, and then that feeling becomes even stronger; this sentiment is very well conveyed by the author.  The production that we put together with the team is based on desire and hope. I hope it’s contagious and that the audience leaves, just as I like to leave the theater—changed, pensive, with my thoughts on my loved ones.” Ciprian Chiricheș, the director of the production Anna Jordan is a renowned British playwright, director, and screenwriter. She graduated from the London Academy of Music & Dramatic Arts (LAMDA) with a degree in acting and is a professor of acting. For her play “Yen,” she won the prestigious Bruntwood Prize for Playwriting (2013) Cast: Sevastian Stan, Mario Monțescu, Teodora Antal, Diana Pomparău. Regie Ciprian Chiricheș, set design Maria Constantin, sound design Teodor Zamfir and llighting design Cristian Ciopată. This performance is not recommended for children under 14.   Translated by Andreea Codrea-Boeriu 

The National Theatre for Children is celebrating its 25th anniversary! This year, on Palm Sunday, we celebrate 25 years in which theater has been not just a performance, but a magical experience! The children who attended our very first performances are now parents themselves, enjoying the magic of theatrical stories alongside their own children. A quarter of a century in which children have become storybook heroes. Sunday after Sunday, season after season, the children have enjoyed a new and unique premiere at the I.L. Caragiale National Theater in Bucharest. On this anniversary, it is fitting to recall some of the key themes and theatrical magic that define the ingenious project of the Abracadabra Foundation, accepted and co-produced by the TNB since 2001. The National Theatre for Children - A Never-Ending Sunday Twenty-five years of laughter, excitement, scraped knees from too much play, wide-eyed wonder, and hands raised toward the stage. Twenty-five years in which stories weren’t just told—they were lived. In the beginning, there was a man and a belief. Marian Râlea never wanted a theater where children sat quietly in their seats and clapped politely. He wanted a theater where children climb onto the stage. A theater where children are asked questions. Where they are allowed to make mistakes. To choose. To be brave. This is how a method was born that today defines the identity of the Abracadabra Foundation: Education through play and theater. A method that doesn’t preach values, but sets them in motion. Truth isn’t solemnly proclaimed—it’s discovered. Courage isn’t explained—it’s practiced. Dignity isn’t imposed—it’s lived. The child becomes the main character and, for a few minutes, learns how to stand tall in the face of fear. In the Media Hall at the TNB, every Sunday, young audiences in the capital can discover the joy of play alongside the Storyteller and his team. A project that extends beyond the theater stage Over the course of its 25-year partnership, the Abracadabra Foundation has carried out major national and international projects centered on the idea of promoting Romania’s intangible cultural heritage (folk mythology and fairy tales) as well as its architectural heritage —performing in medieval fortresses, archaeological sites, church courtyards, and numerous other spaces whose cultural significance children have discovered through play. Equally important is the educational work the Foundation has carried out, nurturing generations of actors who now master the technique of education through play and theater taught by their teacher—a technique they have carried forward into the institutions where they work. Now in its 25th year, the Abracadabra National Theatre for Children project doesn’t just look back on the past; it also celebrates the power of the present and carries forward the same energy: the energy to inspire every child to believe—“I can do it; I am a magician.” The anniversary performance of the Abracadabra National Theatre for Children will take place on April 5, 2026, at 11:00 a.m., in the Media Hall. But throughout the month of April—and starting as early as the last Sunday in March—children are invited to celebrate the anniversary of the Abracadabra National Theatre for Children. The festive spirit will be present in each of these performances.   Translated by Andreea Codrea-Boeriu 

Starting on April 4, 2026, renowned National Theater actress Magda Catone will play the role of the Mother-in-Law in Mircea Stefanescu's comedy Little Hell, taking over from Rodica Popescu-Bitanescu, the actress who has brought this delightful role in Romanian drama to life in recent seasons, continuing the series of anthological performances, from Natasa Alexandra, Silvia Dumitrescu-Timica to Ileana Stana Ionescu. At the "I.L. Caragiale" National Theater, the play Little Hell has had over 300 performances since its premiere in 2013! The next performances will take place on April 4, 8, and May 2, 2026!   Translated by Andreea Codrea-Boeriu 

The “I.L. Caragiale” National Theater in Bucharest will present, starting April 3, 2026, the premiere of “The Bride's Time and Her Gown″ (The Wedding) by Gavril Pătru, a new chapter in the theatrical universeinaugurated by the success of “Ghosts and Dandelions.” The second part of the upcoming “Oltenia trilogy,” the play continues the story of the characters from a contemporary Oltenian village, in a recognizable blend of humor, drama, and authenticity. Created by Gavril Pătru—who serves as writer, director, and actor—the new play offers a glimpse into a world where tradition and inner conflict coexist, and laughter and tension intertwine naturally. This time, the action revolves around a wedding—a seemingly festive setting that becomes the backdrop for an avalanche of tragicomic events. Amidst the musicians, stuffed cabbage rolls, and zaibăr, uncomfortable truths surface, appearances crumble, and hidden dramas are revealed. Nothing is what it seems, and the masks fall one by one, in a universe where even those who do not speak end up saying it all. Dynamic “like the rush of a sârba” and, at the same time, profound “like a doina,” the new play by Gavril Pătru offers an intense theatrical experience, where laughter and emotion converge in a story about family, identity, and truth. “The Bride’s Watch and Shirt” preserves the distinctive language and atmosphere of the Oltenia region that established Gavril Pătru’s reputation, shaping a vivid world, full of color and expressive power. The play can be viewed independently, yet it stands in direct dialogue with “Ghosts and Dandelions” developing the same destinies and delving deeper into the themes already explored. The cast features actors from the National Theater of Bucharest, in a lineup that supports the show’s brisk pace and energy: Costina Cheyrouze, Raluca Petra, Ileana Olteanu, Petre Ancuța / Ciprian Nicula, Gavril Pătru, Alexandra Sălceanu / Teodora Calagiu, Maia Morgenstern / Victoria Dicu, Silviu Biriș. On April 2 and 3, 2026, at 8:30 p.m., in the lobby of the Pictura Hall, immediately following the preview performances of the play, there will be a book launch for “Ceasu’ și cămașa miresii” (The Bride's Time and Her Gown) by Gavril Pătru, a special event that complements the theatrical universe of the play of the same name. The book brings to life the same recognizable world created by Gavril Pătru: a vibrant Oltenian village, full of humor, tension, and poetry, where the characters’ destinies intertwine between tradition and contemporary reality. The audience will have the opportunity to meet the author, discover the behind-the-scenes of the creative process, and get autographs. The official premiere of the production will take place on April 18 and 19, 2026, at the Pictura Hall; the production is already scheduled in the NTB’s current repertoire for April 8 and 9 and May 9, 2026.   Translated by Andreea Codrea-Boeriu 

To mark World Theatre Day on March 27, 2026, the “I.L. Caragiale” National Theatre in Bucharest invites the public to a special event: “Great Actors of the TNB in Special Screenings,” a series of encounters with the living memory of the Romanian stage. The event will take place in the Media Hall, starting at 2:00 p.m., and admission is free, subject to availability. The program features performances and theatrical documents dedicated to iconic figures of the TNB: “Take, Ianke and Cadîr” by Victor Ion Popa (2 p.m.) - One of the most beloved plays in the Romanian repertoire, this 2001 production brings together Marin Moraru, Radu Beligan, and Gheorghe Dinică in a display of acting finesse and rare on-stage chemistry. The story of the friendship between three merchants of different ethnicities becomes, beyond the humor and memorable lines, a heartfelt meditation on tolerance, humanity, and coexistence. “Costel Constantin – last performance” (4.30 p.m.) A moving documentary about actor Costel Constantin’s final stage appearance in June 2023, capturing the behind-the-scenes moments, the tension, and the quiet of the end of an artistic journey after 60 years on stage. The film becomes not only a testimony but also a gesture of emotional healing, an honest look at the connection between the actor and the stage right up until the final applause. “The Man who saw Death” by Victor Eftimiu (5 p.m.) - The play features Costel Constantin in a role of great inner strength. The script explores the fragility of the human condition and the confrontation with one’s own limits, in an intense performance marked by lucidity and restrained emotion. A memorable stage presence in a role that defined his artistic maturity. “The Merchant of Venice” de William Shakespeare (ora 19:00) - The last play in which Ion Caramitru appeared (2021), this production remains a testament to his elegance and artistic depth. His performance adds nuance and gravitas to the Shakespearean text, in a role crafted with rigor and sensitivity, confirming once again his exceptional stature in Romanian theater. With this event, the National Theater of Bucharest honors the contributions of artists who have shaped the identity of its stage and invites the public to rediscover, through images and memories, the power of theater to remain alive beyond time.   Translated by Andreea Codrea-Boeriu 

  International Theatre Institute ITIWorld Organization for the Performing ArtsMessage for World Theatre Day 2026 – 27 MarchAuthor of the Message: Willem Dafoe, USAActor, Theatre MakerEnglish (Original)    World Theatre Day Message 2026 Willem Dafoe I am an actor principally know as a film actor. But my roots are deeply in the theatre. I was a member of the Wooster Group from 1977-2003 creating and performing original pieces at The Performing Garage in NYC and touring throughout the world. I have also worked with Richard Foreman, Robert Wilson and Romeo Castellucci. Now, I am the Artistic Director of The Venice  Theatre Biennale. This appointment, the events in the world, and my desire to return to theatre work has strongly formed my belief in the unique positive power and importance of the theatre.    At the humble beginning of my time in The Wooster Group, the NY based theatre company, we would often get very little public at some of the performances at our theatre. Often the rule was if there were more performers than public we could choose to cancel. But we never did. Many of the company were not trained in the theatre but were people of different disciplines that came together to make theatre- so “the show must go on” was not really our mantra, however we felt an obligation to keep our meeting with the public. We would also often rehearse during the day and in the evening show the material as a work in progress. We would sometimes spend years on a show while sustaining ourselves with touring of older performances. Working years on a piece would often become tedious for me and I found rehearsals somewhat trying but these works in progress showings were always exciting- even if the tiny public was a damning judgment of the level of interest in what we were doing. It just made me realize how no matter how few people, the audience as witness gave the theatre its meaning and life.  Like the sign in the gambling hall says “YOU MUST BE PRESENT TO WIN.” Shared experience in real time of an act of creation, that may be scored and designed but is always different, is certainly the obvious strength of the theatre. Socially, politically, theatre has never been so important and vital to our understanding of ourselves and the world. The “elephant in the room” is new technologies and social networking. which promises connection but seemingly has fragmented and isolated people from each other. I use my computer daily even if I have no social media, I have even googled myself as an actor, and have also consulted AI for information. But you have to be blind not to recognize that human contact risks being replaced by relationships with devices. While some technology can serve us well the problem of not knowing who’s on the other end of the circle of communication runs deep and contributes to a crisis of truth and reality. While the internet can raise questions, it very seldom captures a sense of wonder that theatre creates. A wonder based in attention, engagement and a spontaneous community of those present in a circle of action and response.  As an actor and theatre maker I remain a believer in the power of theatre. In a world that seems to get more divisive, controlling and violent, our challenge as theatre makers is to avoid the corruption of theatre solely as a commercial enterprise dedicated to the entertainment by distraction or as the dry institutional preserver of traditions, but rather to foster its strength to connect peoples, communities, cultures and above all to question where we are going…... Great theatre is about challenging how we think and encouraging us to imagine what we aspire to.  We are social animals and designed biologically for engagement with the world. Every sense organ is a gateway for encounter and through this meeting we achieve greater definition of who we are. Through storytelling, aesthetics, language, movement, scenography - theatre as a total art form can make us see what was, what is and what our world could be.    Source here  

Starting March 13, 2026, you are invited to a new production, Of People, Doctors, and Rhinoceroses by Claudiu Goga after Arthur Schnitzler, at the Studio Hall of the I.L. Caragiale National Theater in Bucharest. A hot topic, even though the author, considered one of the most important representatives of Austrian modernism, imagined it in 1912, a time when many of the issues addressed in the play were more than sensitive, if not taboo. At Dr. Bernhardi's clinic, a teenager is fighting sepsis following a botched abortion. The priest is denied access to the dying girl's room for her last rites. The inevitable death occurs. The incident quickly becomes a topic of national debate: can a Jewish doctor forbid a Catholic priest from comforting a Christian on her deathbed? Based on Arthur Schnitzler's idea, director Claudiu Goga invites you to discover the astonishing story in which Dr. Bernhardi is drawn. A roller coaster of absurd situations, tensions, and contradictions in a world of political intrigue and careerism, where truth becomes a derisory fact amid obscure games of power and personal interests. Both a political play and a love story, written in the style of a detective novel, "Of People, Doctors, and Rhinoceroses" speaks with lucidity and humor about the hypocrisy of today's world. A world in which people claim to fight in the name of principles and values, in the name of political ideologies and religious beliefs, in the name of truth and in the name of humanity. In reality, these are all pretexts. People fight only for their personal interests. Why? The answer is simple: people are people. In the role of Dr. Elias Bernhardi: Mihai Calin, joined by actors George Ivascu, Mirela Oprisor, Medeea Marinescu, Ofelia Popii, Alexandru Potocean, Ioan Andrei Ionescu, Richard Bovnoczki, Dana Dogaru, Ada Gales, Ionut Toader, and Tomi Cristin. Director Claudiu Goga had allies in bringing his vision to life: Corina Gramosteanu for set design and Nina Brumuasila for costumes. Video design was by Andrei Cozlac and Silviu Apostol. Music and stage movement were by Florin Fieroiu. The following performances will take place on: March 14, March 15, March 18, March 19 (official premiere), April 1, at 7 p.m.   Translated by Andreea Codrea-Boeriu

The National Theater of Bucharest opens the doors of the Media Hall for a public "first reading" of the new text: The Bride's Time and Her Gown   Following the resounding success of Ghosts and Dandelions, the story continues! Gavril Patru invites the audience to discover the second part of the "Oltenia Trilogy" in an intimate and unique setting. It is not just a simple reading, but a rehearsal of the beginning, a rare opportunity to see how the characters come to life and how the magic of theater is built from scratch. Moreover, only those who join us in this first step will be our special guests at the dress rehearsal of the performance (also with free admission!). On January 31, 2026, at 12:00 p.m., in the Media Hall, with free admission (subject to availability), we invite you to discover the authentic world of Oltenia, full of humor and meaning, before it reaches the main stage.   Translated by Andreea Codrea-Boeriu 

Continuing its tradition, the I.L. Caragiale National Theater will once again honor National Culture Day on January 15, 2026, opening its doors to the public and inviting them to participate in a selection of the most representative activities of the country's leading theater. On the evening of January 15, at 7 p.m., NTB will present at the Pictura Hall – Ghosts and Dandelions, text and direction by Gavril Patru. The performance marks the directorial debut of the author, who is also a well-known actor at the National Theater, and in this triple role, he stages the dramatization of a text that earned him the "Marin Sorescu" Award for Debut Book of the Year 2022, offered by the Bucharest Branch of the Writers' Union. Spectators attending this performance will be able to watch a video montage of Eminescu's most beautiful verses, interpreted by great actors from the National Theater, on a screen installed in the foyer of the Ion Caramitru Hall. "Poetry is a miracle of language use, of literary language in particular. And this is not only because it saves typographical space and paper, but also because, in a minimalist setting, it conceals profound meanings. (...) Through Eminescu's poetry, I fell in love with the Romanian language. He knew best that the worlds of poetry are the worlds of our dreams," confessed Ion Caramitru, perhaps the most extraordinary interpreter of Eminescu's verses, in a beautiful essay entitled "Poetic Copyright." From 12:00 p.m. to 2:00 p.m., free guided tours of the NTB Museum will take place: the public is invited to discover the Queen Mary at the Theatre exhibition. Access is based on a free ticket, available online or at the ticket office, subject to availability. From 1:00 p.m., 3:00 p.m., and 5:00 p.m., free guided tours of the NTB are organized, subject to availability.  Visitors will be able to visit the new halls, workshops, and backstage areas of the National Theater. The meeting point is in the foyer of the Ion Caramitru Hall, in front of the ticket office. Please arrive 15 minutes before the scheduled time for the theatre tour. Starting at 5 p.m., light projections will be displayed on the NTB stage tower, featuring portraits of prominent figures in Romanian culture. January 15 is not only a day dedicated to honoring Mihai Eminescu, the "complete man of Romanian culture" and symbol of national identity, whose birth marks 176 years, but also a symbolic day that gives us the opportunity to reflect on the identity values of Romanian culture and highlight them through various events designed to reaffirm the importance of culture in the development of society.   Translated by Andreea Codrea-Boeriu 

During the winter holidays, the ticket office of the National Theater in Bucharest will have the following schedule: December 24, 25, 26 – closed December 27, 28: 10:00 a.m. – 7:00 p.m. December 29, 2025 – January 2, 2026: closed From January 3, 2026, we will return to our normal operating hours! We wish you happy holidays and look forward to welcoming you to our performances!