David Schwartz - chatting about theatre, money, work, and ownership!

In April, we are absolutely thrilled to bring you a brand-new premiere at Reactor – the sparkling show "The Treasure City", based on a wonderful text written by playwright Petro Ionescu and directed by the fantastic David Schwartz. The text was beautifully crafted following research on urban development and city dynamics that took place last year. While we eagerly await the big opening night, we invite you to enjoy this delightful interview with the show's director.

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

The show indeed fits into my broader artistic interests regarding economic-political processes and how we can playfully represent property relations and the impact of profit logic on everyday life on stage. And, most importantly, how and if these processes can be portrayed with a healthy dose of humor! My goal for the coming years is to focus extensively and exclusively on bringing three major, yet often overlooked, topics to the stage with theatrical flair: money, work, and property.

In the process of researching and working on this show, what themes or conflicts became more complex or important than they first appeared? Were there any surprising discoveries that changed your perspective?

The research journey began with the real estate market in general, and then took a fascinating turn toward a broader, yet highly urgent theme for booming cities: the privatization of public space. It’s the process through which, gradually and almost without opposition—even to the applause of most residents—cherished public spaces like parks, recreation areas, playgrounds, public housing, and cultural spots disappear, making way for parking lots, private buildings, malls, and paid amusement parks.

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

A lot has been written about how rapid urban growth primarily generates inequality. Simply put, as a city becomes more attractive and vibrant, it also becomes pricier, making it harder for many residents to afford. In the name of "development" and "civilization", entire groups of people are pushed to the outskirts—sometimes through direct, visible means like relocations, and other times through a more subtle pressure, where they simply can no longer afford rent or the cost of living. This creates a lively tension—a fierce competition where those who "make it" sometimes look down on those who can't afford to live in the newly crowned "five-star city." The twist is that many of those celebrating today might find themselves priced out and moving tomorrow, because this purely economic style of development thrives on continuous exclusion.

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

I think a debate we’ve included in the show captures this beautifully! It’s adapted almost word-for-word from a real public meeting at city hall regarding a new mega-mall. Here we see how, behind a friendly mask of "participatory democracy", there is a cozy partnership between local authorities and private investors. It’s a very telling scenario for a city doing everything to please developers in a non-stop carousel of growth, where private profit often takes center stage ahead of green spaces and social dimensions. There are two unique things that make Cluj stand out in Romania: first is the wonderful performance of public debate itself, where city hall enthusiastically champions openness and democracy, even when the practice says otherwise. Second, Cluj sells this dream beautifully—it’s a city where you can make money and enjoy a great lifestyle. This predictable, business-friendly charm is exactly what makes it so attractive to investors. It’s a delicate and fascinating game!

How did the collaborative process—the team meetings, discussions, and creative sparks—shape the final performance? What big decisions did you make together?

The rehearsals were incredibly fertile and inspiring! On one hand, the scenic design, movement, and soundscapes beautifully bring these themes to life. On the other hand, the actors brought so much of their own magic, especially since the script features a fantastic stand-up comedy component. Each performer took the playwright's jokes, made them their own, and came up with unique characters and perspectives on the city. For me, coming from outside Cluj, it was delightful to see how each team member connects with our "treasure city". I hope our dear audience will feel that diverse, vibrant energy on stage!

What are the most important social and political takeaways you hope the audience will find in this show? What conversations do you hope to spark?

I would love for the show to spark a joyful process of self-reflection and lively post-show chats! I hope it invites questions like: what is the relationship between development and preservation? Who does public space really belong to, and what kind of cities do we want to live in? How can we actively shape our communities so that green living, social warmth, and a high quality of life for everyone triumph over pure financial profit?

If you were to describe Cluj as a "character" in the show, what would they be like? What kind of city is it today, and what future do you see for it?

I’m originally from Bucharest, and I’ve been coming back to work in Cluj every few years since 2012. Over time, I’ve noticed it’s adopting some of the hectic traits of Bucharest—rising prices, heavier traffic, and busier streets—while losing some of its smaller-town charm. Yet, there’s a wonderful paradox: not everyone is bothered by this, and many are incredibly proud of this rapid evolution! I wouldn't dare predict the absolute future; things are constantly changing, and the story could still go in any direction. That is exactly why theater is so exciting, and why our show has so much to say!

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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 the project results may be used. These are entirely the responsibility of the beneficiary of the funding.