In the middle of Bucharest, at Romania’s kilometer zero, stands today the “I.L. Caragiale” National Theatre, an emblematic institution for Romanian drama. But the story of this place begins long before the first play was staged here—back in the 18th century, when the land belonged to one of the most influential merchant families in the city: the Hagi Moscu family.

The first beginnings and the legacy of the Hagi Moscu family

This family, with roots in both commerce and nobility, owned a vast estate in what is now University Square. In 1810, they built a luxurious residence that drew attention at the time for its elegance and refinement.

The furniture came from Vienna, the chandeliers reflected sophisticated taste, and the gardens were adorned with fountains and vineyards. This boyar residence remained almost unique in the cityscape until 1912, when it was demolished to make room for the planned Communal Palace, envisioned by architect Ion Mincu.

That plan, however, never materialized. For more than half a century, the land remained vacant until the communist authorities decided it should host a new temple of dramatic art. Thus, a property with aristocratic roots was transformed into the cultural heart of the Capital.

From the Great Theatre on Calea Victoriei to a reborn dream

The first major performances of Romanian theatre took place in the 19th century at the Great Theatre on Calea Victoriei. For nearly a century, this building represented the center of Bucharest’s cultural life. Great names graced its stage, from Costache Caragiale and Matei Millo to the generations of actors who laid the foundations of modern theatre.

Sadly, World War II bombings destroyed the building in 1944. The city was left without a national theatre, and the authorities began searching for solutions to build a new, larger, and more representative venue.

The first attempts date back to 1946, when an architectural competition was held for an opera house on the former Hagi Moscu property. Two projects were awarded, but none were implemented. The idea persisted: that site had to become a cultural hub of the Capital.

Competitions, plans, and urban transformations

In the 1950s, Bucharest was undergoing reconstruction and ideological reconfiguration. Nicolae Bălcescu Square (today’s University Square) was set to be transformed into a monumental space.

Between 1956 and 1957, a competition was held to design a master plan for the square. The projects reflected the architectural styles of the time, oscillating between socialist realism, imposed by the regime, and the timid emergence of modernism.

Chief architect Horia Maicu shaped, in the 1960s, the vision of a cultural ensemble around the future theatre. He proposed fountains, statues, a pedestrian platform, and even an underground parking lot—an idea revolutionary for its time. From this vision ultimately emerged the plan for the National Theatre and the Intercontinental Hotel, which today dominate the area.

Building the National Theatre – a bold project

Construction of the new theatre began in 1967, in an urban landscape of cinemas, shops, and even an improvised circus. The project was carried out by the Bucharest Design Institute team, coordinated by Horia Maicu, Romeo Belea, and Nicolae Cucu.

The building, partially completed in 1970 and fully in 1977, had from the start a modernist appearance. The L-shaped structure stood out with an unusual roof, considered by some critics as inspired by Le Corbusier. Some said it resembled Caragiale’s hat, others saw links to Moldavian architecture. Regardless of interpretation, it was clear that Bucharest had gained a theatre unique in the architectural landscape of its time.

The new building had three halls: the Main Hall, with nearly 1,000 seats; the Studio Hall; and the Small Hall—a technical gem capable of changing its configuration depending on the performance. Stage mechanisms, acoustics, the suspended canopy, and technical facilities placed the theatre at the level of Europe’s great cultural institutions.

The 1978 fire and radical changes

The enthusiasm did not last long. In August 1978, a devastating fire ravaged the Main Hall, destroying a significant part of the building. Reconstruction was entrusted to architect Cezar Lăzărescu, who decided not just to repair but to radically remodel the theatre.

The new version expanded the Main Hall to 1,300 seats and added a new hall, the “Liviu Rebreanu” Amphitheatre. Additional floors were built for cultural and exhibition spaces. The façade was radically altered to align with the tastes of Ceaușescu’s regime, which disliked the modernist architecture of the original design.

Some researchers argue the change was also prompted by similarities to Le Corbusier’s projects, which had drawn the attention of French specialists. What is certain is that after these modifications, the theatre took on a heavier, more rigid appearance, adapted to the official preferences of the era.

The directors of the National Theatre of Bucharest

Over time, the institution was led by directors who shaped its development. The first was Costache Caragiale (1852–1855), followed by Matei Millo, who served three terms between 1855 and 1871. C.A. Rosetti led from 1859 to 1860, and Mihail Pascaly had two mandates in the early 1870s.

Ion Luca Caragiale, one of Romania’s greatest playwrights, was also director for a short period (1888–1889), but the lack of support from actors and the press forced him to resign.

In the 20th century, among the notable directors were Alexandru Davila (1905–1908), Liviu Rebreanu (1929–1930 and 1940–1944), and, more recently, Radu Beligan, who had the longest tenure (1969–1990). After him came Andrei Șerban, Fănuș Neagu, Ion Cojar, Dinu Săraru, and Ion Caramitru, who served as director between 2005 and 2021.

Each of these directors brought their own vision, promoted generations of actors, and strengthened the theatre’s reputation as a reference institution.

The National Theatre, a cultural symbol of the Capital

Today, the National Theatre of Bucharest is considered the most important institution of its kind in Romania. Rebuilt and modernized, it now has seven performance halls, adapted to different types of shows.

Over the years, its stage has hosted landmark premieres, international festivals, conferences, and experimental productions. It is where generations of actors and directors have built their careers, and where audiences have lived powerful artistic emotions.

Successive architectural transformations have not diminished the theatre’s role but consolidated it as a symbol of cultural resilience and adaptation to the times.

The story of the National Theatre of Bucharest is, in fact, the story of the city itself: a blend of aristocracy, tradition, modernism, and survival in the face of history’s trials.

From the elegant Hagi Moscu residence to today’s cultural colossus, the site has remained a space of symbolic power, art, and identity. The National Theatre is not just a building but a living organism where history meets the present and art becomes the bond between generations.

After almost two centuries of existence, the theatre continues to inspire, educate, and define the cultural life of the Capital.