The stages of Tom Daniel’s creative development in his career as a theater actor could not be more interesting. In his early years as an actor, he was one of the main promoters of independent theater. It was almost indispensable in the productions of the Theater named after months from Green hours, was a close friend of Vojka Radescu. Gianina Carbonariu stood out as the main component of productions of plays, in which he established himself both as a director and as a playwright. It seemed that he was finally conquered by extreme modern drama. His name is irrevocably associated with social theater.

And yet. Around the same time, Toma Danile showed another facet of his unparalleled talent. He did it in a soap opera genre that is all too easily ignored. Which also has her acting skepticism. Nothing frivolous, nothing hasty, nothing superficial, nothing exculpatory in the evolution of an actor in The voice of the heart or in The mystery of Mary.

However, the big surprise would come when, heading into directing, one of his first choices in the field was acting Idol and Ion of Anapoda. One of the most popular works of H. M. Zamfirescu, one of the strongest works of Romanian dramatic literature of the interwar period. Which has nothing to do with, say, X mmfrom Y km or with Siberian tiger. But which revealed the concern of the new director about working with the actor. A fact that his subsequent performances will confirm. Ages of the month, The last strip or Ash. Which somehow proved what Victor-Ion Popa claimed in a famous article – Why an actor can’t be a director?- can sometimes undergo corrections. Tom Danile managed to overcome the main danger in the career of an actor who became a director, which is indicated by the author of the mentioned article. It is imposing one’s own vision of how to solve a role on one’s fellow cast members. He did it wisely, choosing works that would not really suit the actor Tom Daniel. Ages of the monthwhich starred Konstantin Kojokara and Gela NitsaThe last tape who gave Kostyantyn Kozhokar a supporting role, Ash, in which we had the pleasure of meeting Gheorghe Visu again, are texts whose heroes are people who have reached the age of three. Who somehow feel the pressure of loneliness. Why does he try to find a possible counterbalance, resorting to words. They conduct a dialogue with themselves. Because after all, this is what Krapp, who is looking for himself in the old tapes, and Henry are from Ash who dialogues beautifully with the other two men in their absence, as well as Byron and Ames in Sam Shepard’s Waiting for the Age of the Moon. I mean the end. Which repeats its own slide.

At the end of the day, it’s all about gliding ZORRO. Director Tom Danil’s last show, this time at Sala Painting Bucharest National Opportunity for one a one man show exceptional actor Ioan Andrei Ionescu. A show about the weaknesses and vulnerabilities of seemingly strong people. In whose existence, apparently, up to a certain point K or comilfo, as the French say, something is happening. And this something first of all shows them how lonely they are. Even if they had a family. Wife. The sons-in-law went every Sunday for lunch.

ZORRO — a 2004 monodrama by writer Margaret Mazzantini. Known to the Romanian public especially as a novelist (DO NOT move!) and screenwriter. The novel just mentioned was adapted into a film in 2004 by director Sergio Castellito, starring Penelope Cruz, Claudia Guerini, Angela Finocchiaro and the director himself. Who is the screenwriter’s husband? And this played an important role in her decision to write a play ZORRO. A text in which the memories of the former actress Margaret Mazzantini are fully revealed. The piece was translated by Tom Daniele, who also adapted it, staged it, and provided the production with a relatively restrained musical score. However, the weight of this increases as we learn more about the suffering of the one who confesses to us. Whom we do not know and will not find out what his name was before the event that changed everything. Who is now called Zorro, like young Mario’s dog. That Mario who died after a car accident. A car driven by a character who is now talking to us and to himself out loud. Who repeats his childhood, his marriage, the hell he lived in after the accident, and after those around him, including his wife, lost their masks.

The one now called Zorro decided to leave home. He became a man of the street. A homeless man. Sometimes he sleeps in a hostel, then on the benches in the subway. In the underground. He became an underground person. But he still cares. It still retains its appearance. It has not yet completely disconnected. This is still laundry. He still wants to please a woman. From whom he still hopes for a kiss. He wakes up every morning, but as the hours and confessions progress, his spiritual breakdown becomes more and more apparent.

The great art of Ioan-Andrei Ionescu is that he does not fall into melodrama. He talks about fear, about love, about faith, he conducts a dialogue and calls God to account with a wonderful sense of proportion. He does not jump, he does not wave his arms or legs unnecessarily, he does not whine, he does not scream, and if he does scream, he does it in such a way that his scream is a confession. – Read the entire article and comment on Contributors.ro