Constantin Tănase, considered the father of Romanian revue theatre, was born in 1880 in Vaslui, into a modest family. A curious, energetic child, he discovered early on the joy of mimicry and laughing through hard times.

Constantin Tănase: childhood and the beginnings of an artistic destiny

His first theatrical attempts were as an amateur actor, taking part in small performances that awakened his desire to step onto major stages.

His great breakthrough would come during the First World War. In an era when Romania was torn by battles, Tănase found the strength to bring a smile to soldiers’ faces.

He gave improvised shows—short couplets and jokes that poked fun at the reality of the time—quickly becoming a symbol of optimism. That experience convinced him he needed a space of his own where comic art and satire could flourish without constraints.

How the Cărăbuș Theatre was born

After the war, approaching forty, Tănase entered a new stage of life. He had remarried the actress Virginia Niculescu and dreamed of his own theatre. In March 1919, he took part in an auction for a plot on Academiei Street, where the summer theatres “Amicii Orbilor” and “Ambasador” had once stood.

He chose architect Edmond van Saanen Algi to design the new building—a name later famous for other Bucharest landmarks such as the Telephone Palace and the ASE Palace. Though the plot was narrow and difficult, the architect found ingenious solutions.

When he showed Tănase the plans, the latter noticed the silhouette resembled a beetle and exclaimed: “You’ve drawn a cărăbuș (beetle). Why don’t we call it Cărăbuș?” And so the name of the theatre that would make history was born.

The Cărăbuș summer theatre was designed so the audience could enjoy impeccable acoustics even without sound amplification. The stage was conceived in the form of an Egyptian frieze, ensuring remarkable clarity for voices and music.

The inauguration and the theatre’s first resounding success

On July 2, 1919, the Cărăbuș Theatre opened its doors with a lavish premiere. The atmosphere was electric: 2,000 seats filled, luxurious sets, 25 ballerinas, an orchestra of 20 musicians, and a 40-voice choir. Everything signaled the beginning of a new era in Romanian revue theatre.

The first show, Pisică pe orez (“Cat on Rice”), by Mircea Rădulescu and Constantin Solomonescu, instantly won over the public. The couplet “Cotoiul e pe varză, pisica-i pe orez” (“The tomcat’s on the cabbage, the cat’s on the rice”) sparked peals of laughter and long applause.

Among the spectators was director Mihai Zirra, who would later recall the emotion of that moment: a garden packed to the brim, sparkling costumes, delightful dancers, and, at the end, an actor with an unmistakable nose, greeted by ovations. It was, of course, Tănase.

Cărăbuș, an arena for political satire

Cărăbuș was not only a place of entertainment but also a tribune for political satire. Among the first shows staged was Sistem Clayton, a parody of the Versailles Peace Conference.

Tănase used wit and courage to turn social problems and politicians’ blunders into delectable jokes, easy for the public to grasp.

This dimension of his theatre made him an uncomfortable voice for some, but an idol for audiences. People recognized themselves in his lines and felt that someone had the courage to say on stage what they were thinking in silence.

Nationwide tours and the itinerant phenomenon

Cărăbuș was not confined to Academiei Street. Tănase turned his theatre into an itinerant phenomenon, organizing tours across the country with a special railcar dedicated to his troupe.

The performances drew thousands, with halls filled to capacity. In winter, the actors returned to the capital and performed at the Eforie Theatre or the Tomis Theatre.

This mobility strengthened Tănase’s bond with the public. Wherever he appeared, he was greeted with enthusiasm, applause, and flowers. His name had become synonymous with joy and intelligent satire.

Great artists on the Cărăbuș stage

Constantin Tănase was not only a brilliant actor but also a mentor to many talents. On the Cărăbuș stage, artists who would make history began or consolidated their careers.

Maria Tănase, the unique voice of Romanian song, found her first platform here. Horia Șerbănescu and Mircea Crișan, actors with a distinctive humor, became benchmarks of revue theatre.

Alexandru Giugaru, celebrated for his natural acting, and Horia Căciulescu, a first-rate comedian, perfected their art at Cărăbuș.

Elvira Popescu, Elena Zamora, Mia Apostolescu, Lisette Verea, Lizica Petrescu, Lulu Savu, and Mia Steriadi brought grace and refinement to the shows.

The duo Stroe and Vasilache delighted audiences with tasty routines, and choreographer Oleg Danovski—later a monumental figure of Romanian dance—debuted on this stage.

Cărăbuș was not a mere theatre but a temple of Romanian comedy. Tănase’s satire reflected social, political, and cultural reality, turning the stage into a mirror of society. People came not only to laugh but also to reflect on the world they lived in.

Over the years, revue theatre became a landmark of Bucharest’s cultural life, a space where music, dance, couplets, and sketches blended into a complete spectacle.

Confronting censorship and the end of an era

With the establishment of the communist regime, everything changed radically. Censorship began targeting Cărăbuș performances directly. Political satire—the soul of the theatre—was no longer allowed. Tănase’s texts were checked and often altered to remove any hint at the regime’s reality.

Yet the great actor did not give up his critical spirit. Continuing to slip subtle messages into his shows, he became a thorn in the authorities’ side.

His sudden death in 1945 remained shrouded in mystery. Rumors of a possible elimination due to anti-Soviet allusions fed the legend surrounding him.

The legacy of the great Constantin Tănase

After Tănase’s passing, the theatre that bore his imprint was renamed the “Constantin Tănase Revue Theatre.” It was how later generations honored his memory and carried forward the tradition of Romanian revue.

His legacy lives on today. Constantin Tănase left us not only unforgettable performances but also the lesson that theatre can be more than entertainment: it can be a tool for social awareness, a catalyst for change, and a balm for the soul.

“Năsăilă’s Cărăbuș”—as Tănase was affectionately nicknamed for his prominent nose—was not just the great actor’s first theatre; it was a true temple of Romanian comedy. Beyond its stage, a world was built where satire, music, and dance intertwined to give birth to a unique cultural phenomenon.

Today, more than a century after Cărăbuș’s inauguration, Tănase’s spirit continues to inspire, and the echo of his jokes and songs reminds us that, no matter the times, laughter remains the strongest weapon against life’s hardships.