Exclusive interview with Daniel Burcea, Romanian musical theatre actor and director, discussing his career, the challenges of musicals in Romania, and educational projects for children.
Daniel Burcea is an actor and director from Bucharest, particularly passionate about musical theatre. He moved to the capital 15 years ago to pursue his childhood dream – performing arts – and earned both his bachelor’s and master’s degrees from the National University of Theatre and Film “Ion Luca Caragiale” (UNATC). He currently works as a freelance artist, collaborating with prestigious institutions such as the National Operetta and Musical Theatre “Ion Dacian,” the Bucharest National Theatre, Avangardia Theatre, “Toma Caragiu” Theatre in Ploiești, and Apropo Theatre. He is a founder member of CREAS (Romanian Center for Artistic and Social Education), an organization that produces musical theatre shows and cultural projects with educational and social impact.
C&B: How would you describe yourself in a single sentence to spark the curiosity of those who don’t know you yet?
Daniel Burcea: I am an ambitious person who follows my vocation stubbornly, even when the system presents more obstacles than opportunities.
C&B: If we were to look at a narrative thread of your career or work, what were the key moments that defined you?
Daniel Burcea: Among the key moments in my artistic journey, I would start with my debut in 2014, when I had my first stage project – the play TOC-TOC at Avangardia Theatre, directed by Ricard Reguant, a show that continues to run successfully today. In 2015, I worked on Romeo and Juliet at Tony Bulandra Theatre, directed by Irina Niculescu, a heartfelt production that was also presented at the International Shakespeare Festival in Gdańsk and the International Shakespeare Festival in Craiova. Also in 2015, I experienced a moment of great emotion and recognition when, together with the Lightwave Theatre troupe, we received the golden button on Românii au talent with an animation performance.
In 2016, I joined the troupe of “Toma Caragiu” Theatre in Ploiești, where I still work, and I have performed over 20 roles to date. Among them, I would mention Cold Heart directed by Cristian Pepino, Two Gentlemen of Verona directed by Vlad Trifaș, and The Canterville Ghost directed by Gabriel Apostol. Also in 2016, I began collaborating with the National Operetta and Musical Theatre “Ion Dacian” in the operetta Die Fledermaus and later in the musical Amusement Park, directed by Dana Rotaru.
In 2021, I had the opportunity to debut on the stage of the Bucharest National Theatre in the musical The Machine by Alexander Hausvater, and later in the play The Journey by Dan Puric. Most recently, I premiered The Alchemist at Apropo Theatre. In parallel, I have done dubbing for films and animated shows, experiences that helped me explore other expressive registers. Additionally, as a member of CREAS and as a director, I have produced 10 shows for children, and as producer and director, I coordinated two musicals in partnership with the National Operetta and Musical Theatre “Ion Dacian.” These are, briefly, some of the projects that have been very dear to me and have shaped my artistic path.
C&B: What have been the main challenges you’ve faced in promoting musicals in Romania?
Daniel Burcea: Let’s start from the beginning. CREAS has produced three musicals in partnership with leading institutions: Next to Normal and I Love You, I Want You, but I Change You with the National Operetta Theatre, and The Machine with the National Theatre of Bucharest.
The challenges were numerous. First, assembling the artistic team. In Romania, the availability of talent for this genre is limited, and musicals set very high standards. You need actors capable of singing and dancing at a professional level or soloists who, in addition to their voice, can perform and dance with the same artistic intensity.
Secondly, there is a perception challenge: the concept of a musical is still not very clear to the general public. Many expect a concert or a spectacular production with shiny costumes and elaborate choreography. However, above all, a musical is theatre – a story told through emotion, with music as part of the dramatic structure, not just an accessory. It becomes the language through which characters express their deepest feelings.
A relevant example is the first title I produced at CREAS, Next to Normal, directed by Victor Bucur. It was a real challenge because it is a dramatic musical, without “classic” show elements – no spectacular dances or grand visual effects. Everything is based on the story, a story with an extremely sensitive subject, difficult to imagine as material for a musical.
The major challenge was not just staging the show but also promoting it, explaining to the audience what kind of experience awaited them. Many did not expect to discover a musical with psychological depth, so intimate and moving. Although the feedback was overwhelmingly positive, the effort to convince spectators to engage with a form of art different from what they knew was equally intense.
C&B: Is there a dream or ambition that has always guided you, regardless of obstacles?
Daniel Burcea: My dream has been and remains to always do what I love. I feel I have a lot to offer, both on stage and behind the scenes, and my desire is to build and contribute here, in my own country. I draw inspiration from international models, not to copy them, but to bring at least a drop of that experience and professionalism to our industry.
C&B: How did you look at the start of your career, and how do you feel you’ve transformed since then?
Daniel Burcea: At the beginning, I was just as ambitious as now, but much shyer. I realize that each experience and professional encounter has left its mark on me and helped shape my way of thinking today. I remain highly self-critical and believe I still have a long way to go to reach where I imagine I should be. I am convinced that for anyone, complacency is the end of the road, regardless of the profession.
C&B: If we met with your team or collaborators, what do you think they would say about you?
Daniel Burcea: I believe every encounter is unique and naturally perceived differently. I couldn’t say that two people would give exactly the same feedback about me. Some collaborations turned into friendships, others evolved into new projects and remained strictly professional, and sometimes paths diverged. I am, above all, human, with strengths and flaws I am aware of. What matters to me is to continually work on the best version of myself.
C&B: What is the most important decision you’ve made that changed your trajectory?
Daniel Burcea: There have been many decisions that influenced my path, but the most important was choosing to remain a freelancer. It is a decision with many disadvantages – in Romania, security is not guaranteed for a freelance actor, and legislative changes can destabilize everything from year to year. Practically, there is always the risk that from one month to the next, you may have nothing secure.
However, the positive aspect that attracted and motivates me today is the freedom to collaborate in different areas, to accept projects that inspire me, and to always meet new people. I love the thrill of beginnings, when everything is unknown and full of potential. It is just a life choice – I do not dismiss other styles, but for me, this was the right path… for now.
C&B: Which CREAS projects or shows do you consider to have had the greatest impact so far?
Daniel Burcea: Each CREAS project had a different impact because none was like the other. For example, Next to Normal highlighted the sensitive topic of depression through a strong awareness campaign. On the other hand, the project Pinocchio Goes to School addressed the issue of school dropout, engaging children and communities directly and educationally. Most projects achieved their goals and reached their intended beneficiaries, which is why I consider each a success in its own way.
C&B: How does the Romanian audience respond to your initiatives, and how receptive is it to musicals?
Daniel Burcea: I touched earlier on audience perception, but I’d like to elaborate. The musicals Next to Normal and The Machine were atypical productions, aimed at a smaller audience. Next to Normal is considered atypical even internationally, both because of its very serious and contemporary themes and its musical and dramatic structure. The emotional impact is direct and intense. I received extraordinary feedback even from people seeing a musical for the first time, and they were captivated by the experience. Many young people returned with friends, and in some cases, the show even inspired people to pursue directing or acting.
The Machine, directed by Alexander Hausvater, went further beyond the classic patterns, with an absurd and existential theme and atonal, unconventional music – a radically different experience from what is expected from an optimistic or romantic musical. Reactions were extreme: from audience members very enthusiastic about the boldness and novelty of the proposals to others who did not resonate with this type of musical.
Meanwhile, the comedy I Love You, I Want You, but I Change You attracted a much larger audience, due to its humor and accessible format. In general, comedies draw a broader audience because many people seek a sense of enjoyment and direct entertainment in theatre. My conclusion is that the Romanian audience reacts differently depending on the production: atypical works attract a more selective audience and spark debate, while comedies more easily reach a wider public. Both types of productions have had impact, each in its own way.
C&B: What does a typical day look like for you now, and which moments of the day bring you the greatest satisfaction?
Daniel Burcea: No two days are alike. At home, I devote a lot of time to organizing children’s shows: writing scripts, building set elements, or preparing promotional materials – from graphics and trailers to registering shows for festivals. Practically, my home functions as a nonstop office. All this, of course, happens on days when I don’t have rehearsals or performances at the theatres I collaborate with. The greatest satisfaction does not come from a single moment of the day but from each finished product I manage to complete.
C&B: What values or principles guide you in your work, and how do you apply them daily?
Daniel Burcea: I am guided by a few simple but essential principles. First, I want to be a serious person who respects their word and the commitments made. I consider it very important not to compromise a project or change the rules along the way but to remain consistent with the commitments taken. Even when doubts or difficulties arise, I have never abandoned a project – for me, responsibility and perseverance are core values that I try to apply every day.
C&B: How did the idea of founding CREAS come about, and what motivated you to focus on musicals?
Daniel Burcea: CREAS was founded in 2011 by Victor Bucur, with the desire to create and promote new forms of artistic expression in the Romanian cultural space, especially musical theatre. The choice of this genre is not accidental: the complex, dynamic, accessible, and contemporary nature of musicals makes it an ideal tool to attract young audiences and bring diverse groups of spectators closer to theatre. At the same time, the association’s members are concerned with developing educational programs through culture, aimed at combating social, ethnic, or gender discrimination and preventing school dropout. I joined the association in 2014, becoming actively involved in its projects and initiatives.
C&B: What are your future plans for developing musicals in Romania through the association?
Daniel Burcea: Our future plans focus on developing and promoting musicals in Romania with the help of new funding, sponsorships, and partnerships to make ambitious projects possible. We travel constantly to London, Vienna, Berlin, or Madrid to watch reference productions and identify licenses that could succeed with the Romanian audience. Although we do not have our own theatre space, we collaborate with state institutions or rent venues to launch new productions, which allows us to diversify the audience and build valuable partnerships. Currently, the shows Next to Normal and I Love You, I Want You, but I Change You are part of the repertoire of the National Operetta and Musical Theatre “Ion Dacian,” while children’s shows continue to be managed by the association and presented through projects such as Theatre at the Cinema, The Touring Shows Caravan, or at specialized festivals across the country.
Daniel Burcea continues to inspire with his talent and dedication, building a bridge between classical theatre and contemporary musical theatre in Romania.
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