Gabriel Sandu belongs to the category of those (still) young graduates of higher acting studios who found their purpose not necessarily on the stage, but in other types of activities, fortunately, also in the field of art. Even from the field of theater and cinema.

The declared passion for journalistic investigations helped Gabriel Sand to become one of the most convincing, real authors of dramatic literature with a bright social tone. All the same, not newspaper, but real dramatic literature was moving on the stage. His main success on the field is his game My father, a priestwhich was very well received not only by the exclusive theater critic who loudly claims that art theater is already a thing of the past, that if you do not do social theater, you are not doing anything, but also by those who are less and less rational people (unfortunately , marginalized even UNITED, who still consider the main criterion for the artistic evaluation of a performance not genre affiliation, but above all value.

My father, a priest was and continues to be an undeniably valuable text. He enjoyed success in 2018, when it was staged by Olena Morar on the stage of the Theater Apollo 111 and Leta Popescu in Company Liviu Rebreanu The National Theater in Tirgu-Murei, as it seemed to me, has nothing to do with the economic field. That is, with the detail that the text, which touched on the then still sensitive topic of gays, was released on the market exactly in the year when the unsuccessful referendum on the topic of the traditional family took place. That is why I am not a little surprised that after the two mentioned stage versions, no one wanted to edit Gabriel Sandu’s text. However, I did not intend to write about the whims and caprices of Romanian theatrical life.

But about the fact that the Theater named after queen maria Oradea has a program called live is held jointly with the Culture Fund named after PHYTO, co-financed by AFCN. Thanks to him, Gabriel Sandu arrived in Oradea in a double pose. In the volume of the author of the dramatic text entitled SUITE like the director of a play. Even in a triple capacity, the role of the creator of the scenographic concept, whose actual implementation was carried out by Rezvan Chendrean, joins the two already mentioned.

SUITE it performances in which the music is associated with the spoken text (it was created by Yevgeni Negucescu and the vocal training of the actors who have to sing In Play Oana Pușcatu was responsible) and dances (Ruxandra Bobleaga was busy with the choreographic part, as well as with the lighting design of the installation). It is also worth mentioning the contribution of Miruna Kroitoru, who took care of the video sequences inserted into the show. A sequence that reinforces some of the metaphors inserted into the montage’s mostly realistic matrix. A deer, a stray sheep or a dolphin. Gabriel Sandu also has a fourth quality. He also took on the voice of the narrator. Perhaps also as a sign that he brought true facts from life to the stageSUITE it speaks of the luxury of life as much as the inexorable reality of death. About the not entirely enviable life of those who, for one reason or another, felt oppressed by fate, but corrected their fate (see here the difference between Fate and Destiny, proposed by Gabriel Liichanu and Andriy Plesho in the book About fate and described in detail by the former in a recent lecture inserted in the book What is God thinking) thanks to the life saving meeting with the association please NGO. Association whose name Good things follow you.

SUITE a text about losses is recommended. All four heroes of the play once lost something in their lives. In or from life. Lavinia, head of an NGO, was on the verge of losing faith in people and herself when she realized that she otherwise. That he must admit it. How can we say that the tragedy of Elena’s loss came to all this. That is, the woman he unexpectedly fell in love with. Olesya, originally from Ukraine, lost her country. She came to Romania when she was in the last months of her pregnancy. She had only the memory of the grandparents who raised her, and yet she found the strength to take her from the very beginning. Assistance of the relevant NGO. Christina/Ina is only 17 years old, but she is already a mother of two children. Easily falls into a man’s net. Hence a whole series of failures and despairs. Christy is a mature mature man. He is 34 years old and has experienced many romantic failures. All of them found their salvation through the aforementioned association, which taught them a fundamental lesson. Summarized in the idea that we all have the luxury of finding ourselves after losing everything.

It must be said that SUITE it has neither lift nor organicity My father, a priest. That regardless of the tricks used by the playwright and screenwriter Gabriel Sandu, regardless of the contribution of video inserts, the impression of fragmentation remains. What needs to be done to collapse the text. Which is currently a sequence of parts. It remained to find a binder. Each of the four actors — Karina Bunya, Anda Temeshanu, Georgiana Koman, Eugen Nig — has a monologue in which he proves his qualities. Experience speaks for itself, so Anda Tămăşanu and Eugen Neag are one step ahead. However, in fragments with greater dynamics, the expressiveness, primarily the expressiveness of the language, in some places makes it difficult to understand the text. Actuality, in which both the play and the performance were created, has not only good sides. To her task, the urgency, sometimes even the obvious haste, I put the shortcomings, the insecurity, the too frequent stuttering, visible in the presentation I saw. Read the whole article and comment on Contributors.ro