This April, we are thrilled to bring you a brand-new premiere at Reactor – the captivating show "The Treasure City" (Orașul comoară), based on a wonderful text written by playwright Petro Ionescu and directed by the fantastic David Schwartz. The script blossomed from extensive research on urban development and city dynamics conducted last year. While we eagerly await the big opening, we invite you to enjoy this delightful interview with the show's director!

In your previous shows, you have explored themes related to capitalism, inequality, and the social effects of post-socialist transition. How does this play about Cluj and gentrification fit into that creative journey?

The show absolutely aligns with my broader artistic passions, which revolve around economic-political processes and how we can playfully stage property relations and the impact of the profit-driven logic on our daily lives. And, most importantly, how—and if—we can represent these processes with a hearty dose of humor! My goal for the coming years is to focus extensively and exclusively on the theatrical representation of three major topics that are often missing from most stage productions, even political ones: money, labor, and property.

During the research and creative process for this show, which themes or conflicts became more complex or important than they initially seemed? Were there any eye-opening discoveries that changed your perspective?

Our research journey actually began with the real estate market in general, and then took an exciting turn towards a perhaps broader, yet incredibly urgent and pressing topic for fast-growing cities: the privatization of public space. This is a gradual process where, almost without resistance—and sometimes even with the applause of the majority of residents—treasured public spaces like parks, recreation areas, playgrounds, public housing, and cultural venues slip away to make room for parking lots, private developments, malls, and commercial amusement parks.

The rapid growth of Cluj is often celebrated as a major economic success, but you choose to shine a light on the hidden side of this journey. What do you feel is missing from the public conversation about the city's "development," or what are the key tensions in this discourse?

A lot has been written about how rapid urban growth primarily generates inequality. Quite simply, as a city becomes more attractive, it also becomes more expensive, making it less accessible to many of its residents. Essentially, in this march of "development" and "civilization," entire groups of people are pushed to the margins or out of the city altogether—sometimes through direct, visible means like evictions, and other times through a more subtle pressure where they simply can no longer afford rent, utilities, or the general cost of living. This creates an intense competition between working classes, where those who manage to stay might look down on those who can't afford the "five-star" city life. The irony is that many who are currently happy to see the city's less fortunate leave may find themselves forced to move in the future, because this purely profit-driven development leads to endless price hikes and exclusion.

How do you perceive the dynamic between the authorities, real estate developers, and the city's residents?

I think a debate we've included in the show is wonderfully telling! It is adapted almost word-for-word from a real public meeting at city hall regarding the approval of a zoning plan to build Romania’s largest mall on a former industrial site. Here, we see how behind the curtain of "participatory democracy" lies a clear partnership between local authorities and the private developer. It is highly symbolic of the city's general direction—doing everything to please developers in a continuous real estate loop where private profit often takes precedence over public green spaces, clean air, and social welfare. There are two things that make Cluj unique in Romania. First is the elaborate simulation of debate. The city hall loves to constantly promote its openness, citizen participation, and democracy—even while, in practice, doing the opposite. It’s a very distinct style of communication. Second, Cluj is incredibly attractive to investors because it beautifully markets this image of a place where you can make money and live a wonderful life. The predictability of the local government, championing both business and people simultaneously, gives investors great confidence. It’s a very clever, delicate game!

How did the collaborative process—the team meetings, discussions, and perhaps even those creative sparks of tension—shape the final show? What exciting decisions did you make together?

Oh, the collaborative process was incredibly fertile! On one hand, the scenic design, the movement, and the soundscape beautifully bring these complex themes to life. On the other hand, the actors contributed immensely more than in a typical production because of the stand-up comedy element in the script. Each performer adapted the jokes, bringing their own unique character and personal perspective on the city. For me, coming from outside of Cluj, it was absolutely fascinating to see how each team member connects with the famous "treasure city." I really hope our audience will feel the energy of these diverse opinions shining through on stage!

What are, for you, the most important political and social goals of this show? What kind of conversations do you hope to spark?

I would love for the show to inspire some wonderful self-reflection and spark lively discussions! I want people to ask themselves: what is the balance between development and destruction? Who does the public space belong to, and what kind of cities will we live in if everything is privatized? How can we stand up for genuine democracy, and how can we ensure that a healthy environment and a high quality of life for everyone don't get lost in the pursuit of financial profit?

If we view Cluj as a "character" in the play, how would you describe it? What kind of city is it today, and what future do you see for it?

I come from Bucharest, and I’ve been coming back to work in Cluj every few years since 2012. Over time, I’ve noticed the city starting to inherit many of Bucharest’s challenges—like heavier traffic, rising costs, and growing pollution—but with fewer of its large-scale cultural perks. For instance, the number of malls in Cluj is set to surpass the number of public theaters, which is quite telling! Yet, there is a fascinating divide: not everyone is bothered by these changes. Many residents are very happy and incredibly proud of this rapid "development." I wouldn't rush to predict the future, though, as things are constantly evolving and could go in any direction. That’s exactly why our show is so meaningful and timely!

A cultural project co-funded by the National Cultural Fund Administration. The project does not necessarily represent the position of the National Cultural Fund Administration. AFCN is not responsible for the content of the project or how its results may be used. These are entirely the responsibility of the grant beneficiary.

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