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The 34th edition of the UNITER Awards Gala will take place on Monday, May 25, 2026, at the Majestic Hall of the Odeon Theater in Bucharest. For the 34th edition of the UNITER Awards Gala, the nomination jury was composed of theater critics Oana Bors, Mihai Brezeanu, and Iulia Popovici. The performances that caught the jury's attention were those that premiered between January 1 and December 31, 2025. According to the statutes of the Romanian Theatre Union, the UNITER Senate – Board of Directors awards the "Ion Caramitru" Excellence Award, Lifetime Achievement Awards and Special Awards at the UNITER Awards Gala. The I.L. Caragiale National Theater in Bucharest stands out this year with the following awards and nominations: Lifetime Achievement Award: Marius Bodochi Victor Rebengiuc: UNITER tribute for his brilliant and long-lasting career Nomination Irina Moscu for the set design of the play Prophet Ilya by Tadeusz Słobodzianek, directed by Botond Nagy Nominations for the category "Best Original Music and Sound Design": Cristina Juncu for the music of the performance Waiting for Ulysses, a concert-performance by Cristina Juncu, based on Homer's Odyssey, the Par Coeur Association in partnership with NTB Claudiu Urse for the music for the play Prophet Ilya by Tadeusz Słobodzianek, directed by Botond Nagy, set design by Irina Moscu More details here    Translated by Andreea Codrea-Boeriu 

Mircea Ștefănescu’s play The Little Hell, directed by Mircea Cornișteanu, marks a remarkable achievement at the “I.L. Caragiale” National Theater in Bucharest (NTB), reaching its 350th performance on the evening of May 15, 2026. Written in 1948, the play had a rocky start in its early years, being banned for a long period despite the enthusiasm generated by its premiere. “It was simply absurd and embarrassing to turn an honest play into a sort of standard-bearer for a supposed bourgeois reaction,” the author confessed in the book “Memoirs of a Playwright.” Over the years, the play has enjoyed numerous successful productions, one of the most notable being the one staged at the Nottara Theater, directed by the masterful Sică Alexandrescu, with Silvia Dumitrescu Timică in the role of the mother-in-law, which set a record with 500 performances. In today’s world, fraught with tension and questions about the meaning of life—and family life in particular—in an increasingly uncertain society, a play that offers a model of stability at the family level proves, once again, to be a gem adored by the public. When families form and break up at a dizzying pace, a model of lasting marriage—such as that of the couple in Mircea Ştefănescu’s play—cannot help but spark keen interest. Temptations and threats spare no one, no couple. To the delight of the audience, the play offers several possible solutions to the marital crisis—discreet but effective! The NTB production, consistently praised by audiences, continues its run with the same freshness and artistic energy from one season to the next, confirming both the quality of the text and the genuine joy of the acting delivered by an inspired cast. Director Mircea Cornişteanu believes that the play’s consistent success is due, not least, to the fact that audiences recognize themselves in the characters: “It seems to me today, just as it did 13 years ago, that the humor of the situations and the wit of the dialogue are the strengths that make Mircea Ștefănescu’s play a success with the general public—along with the fact that every audience member can easily identify with the characters, regardless of when the play is performed, whether in 1948, 2026, or 2226. I have faith, and above all hope, that the “hell” of marriage will survive the times we live in, not just for us here in the Balkans… but also for those in other lands.” Under his direction, the role of the mother-in-law has been portrayed in previous seasons by our great actresses Ileana Stana Ionescu, Rodica Popescu Bitănescu, and, starting this year, Magda Catone. Centered around this role, considered the linchpin of the play, the cast brings together beloved actors Ilinca Goia, Iuliana Moise, Liviu Lucaci, Marius Rizea, Dragoș Stemate, Daniel Badale, and Fulvia Folosea, who contribute to the charm and enduring success of the romantic comedy "Micul infern" on the theater stage. The “I.L. Caragiale” National Theater in Bucharest invites the public to join in celebrating this evening dedicated to a long-running production in contemporary Romanian theater. The anniversary event will take place on Friday, May 15, 2026, at 7:00 p.m., in the “Ion Caramitru” Hall. The last remaining tickets can be purchased at the theater box office or online. Photo: Florin Ghioca   Translated by Andreea Codrea-Boeriu

The play “Mary Stuart” – an official guest of the 13th edition of MITEM (Madach International Theatre Meeting) in Budapest. On April 28, 2026, the “I.L. Caragiale” National Theater will present Robert Icke’s Mary Stuart, directed by Andrei Șerban, in the main hall of the National Theater in Budapest, as an official guest of the 13th edition of MITEM (Madach International Theatre Meeting), which takes place in Budapest from April 10 to May 10, 2026. The event, organized by the National Theater of Budapest (Nemzeti Színház), brings 26 productions from 15 countries to the stage in this edition, presented by 21 companies. The TNB’s participation in this international theater gathering is part of a long-standing and excellent collaborative relationship with the National Theater of Budapest, where the TNB presented the productions Two Lots, The Tempest, and Gertrude during the 2014, 2015, and 2025 editions of the MITEM Festival, respectively. “MITEM’s principles have remained unchanged since its inception: we organize an open theater festival where genuine dialogue takes place, connections are formed, and open and courageous debates unfold. European festivals are becoming increasingly exclusive and one-sided, while diversity is the defining feature of our event,” emphasized Attila Vidnyánszky, founder of MITEM and general director of the Hungarian National Theater, during a recent press conference in Budapest. According to Vidnyánszky, it is becoming increasingly difficult to find theater productions in Western Europe because “theaters are gradually turning into political battlegrounds.” The festival opens with William Shakespeare’s “Richard III,” a landmark production by the “Harag György” Company of the Northern Theater in Satu Mare (directed by István Albu), and will close with the same play, in a version by the Gesher Theater from Israel. Also appearing at MITEM 13, among others, will be the La Colline Theater from France (“The Thought Characters,” directed by Valère Novarina), the Plovdiv Drama Theater (with the play “Oedipus and the Prophets” by Diana Dobreva), the Serbian National Theater in Belgrade (with “The Imaginary Invalid”), the Tatar State Theater “Galiaskar Kamal” in Kazan, and others. A special section features performances by Tatar, Scottish, Catalan, Frisian, and North Macedonian Turkish companies. Robert Icke’s* production of Mary Stuart (an adaptation of Schiller’s famous historical play), which the National Theater of Bucharest will present as part of MITEM, offers an intense exploration of major historical and personal conflicts, under the direction of a director who has always been drawn to contemporary reinterpretations of the great classical texts, a master who continues to fascinate and challenge new generations of audiences: Andrei Șerban. “Mary Stuart” is the drama of two powerful women, Mary and Elizabeth—two queens, of Scotland and England, respectively. Both come to a confrontation with the most extreme consequences of power. Centered around the concept of duality, the plot of this historical thriller seems drawn from the reality of our present: manipulation and behind-the-scenes maneuvering for political and religious supremacy have shaped history. The production "Mary Stuart" received seven nominations for the 2025 UNITER Awards (for Best Production, Best Direction, Best Set Design, Best Actress in a Leading Role, Best Actor in a Supporting Role, Best Music, and Best Video Design); Raluca Aprodu won the Theater Award at the 2025 Radio România Cultural Awards Gala. The production opened the Kielce International Theater Festival (Poland) as part of the Romanian edition of the “Gra z Kantorem” program in October 2025 and participated in the 10th edition of the National Theaters’ Meeting in Chișinău (September 2025). The specialized press and the immense public success rightly established this production as “the great historical and topical production of the season (…). Andrei Șerban is, quite simply, regal, writing, with universally recognized venerable talent, yet another important page in the history of the National Theater in Bucharest.” Here is the cast that will perform “Mary Stuart” in Budapest on the evening of April 28, 2026: Raluca Aprodu, Ofelia Popii, Mihai Călin, Florin Aioane, Conrad Mericoffer, Marius Bodochi, Emilian Oprea, Mihai Calotă, Ciprian Nicula, Florin Călbăjos.  The performance, presented in Romanian, will be subtitled in Hungarian and English. Tickets can be purchased on the website of the National Theater in Budapest. *Directed by: Andrei Şerban; Associate director: Dana Dima; Set design: Helmut Stürmer; Costumes: Corina Grămoșteanu; Music: Alexei Ţurcan; Video: Andrei Cozlac; Lighting design: Cristi Niculescu; Sound design: Liviu Stoica. Directing assistant: Corina Mihaela Predescu; Set design assistant: Șteff Chelaru; Lighting design assistant: Daniel Mateescu. Artistic consultant: Ilinca Radulian; Executive producer: Mădălina Ciupitu.   Translated by Andreea Codrea-Boeriu 

Robert Icke’s production of “Mary Stuart,” directed by Andrei Șerban, captivated the Budapest audience on the evening of April 28 at the National Theater (Nemzeti Színház) as part of the 13th edition of MITEM (Madach International Theatre Meeting). The main hall was packed to capacity, and at the end of the performance, the audience rewarded the artists of the Bucharest National Theater with minutes of applause and a standing ovation, in an atmosphere of rare enthusiasm that confirmed the powerful impact of the production on international audiences. The official invitation to MITEM and the success achieved on the stage of the Nemzeti Színház reaffirm the solid collaborative relationship between the two institutions, as well as the Bucharest National Theatre’s consistent presence in the circuit of major international theater festivals. Andrei Șerban’s production impresses with the power of its contemporary reinterpretation of the classic text, its dramatic tension, and the refinement of its stage design, offering the audience a highly intense theatrical experience. The duel between the two queens, Mary and Elizabeth, takes on contemporary significance in this production, and the director’s interpretation, marked by remarkable precision and depth, was met in Budapest with unanimous enthusiasm. The cast, featuring Raluca Aprodu, Ofelia Popii, Mihai Călin, Marius Bodochi, Conrad Mericoffer, Emilian Oprea, Mihai Calotă, Florin Aioane, Ciprian Nicula, and Florin Călbăjos, was praised for the coherence, energy, and expressiveness of their performances, which played a decisive role in the evening’s success. With this success in Budapest, the “I.L. Caragiale” National Theater in Bucharest reaffirms its mission to promote Romanian artistic excellence on international stages and to strengthen European cultural dialogue through high-quality performances.   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 

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