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.

The post Daniel Burcea: Passion and Depth in Romania’s Musical Theatre appeared first on careers-business.com.

Felix Crainicu is a director, writer, and veteran of social dance. He dedicates a good part of his time to cultural projects, with those from the Erasmus family being the most representative.

C&B: How would you describe yourself in a single sentence, in a way that would spark curiosity in those who don’t know you yet?
Felix Crainicu: My passion is life. Is one sentence enough? It says exactly what it should about me and also stirs curiosity. At least I think so.

C&B: If we were to look at the narrative thread of your career or business, what were the key moments that defined you?
Felix Crainicu: The word “career” doesn’t really represent me. I never set out to build a career in the classic sense of the word. Rather, I just did what I enjoy. Always. And I was lucky enough to get paid for it, which, from my point of view, is truly spectacular.

C&B: What were the main challenges in establishing a cultural organization in Romania?
Felix Crainicu: Bureaucracy, I’d say. Although now it’s much simpler than twenty years ago. I don’t think it was very complicated, in a way, especially since everything happened organically. I had the team, I had the knowledge and experience, I had many potential collaborators in mind. On top of that, if you add a bit of luck (or synchronicity, if you prefer), everything has gone quite smoothly from the beginning until now.

C&B: Is there a dream or ambition that has always guided you, regardless of obstacles?
Felix Crainicu: I mentioned it earlier: to do what I love. To get involved in activities that bring me joy and inspire me. I like to exist here and now, so everything I do revolves around this concept (hic et nunc). I don’t have anything to prove to anyone, I’m not in competition with anyone. Plus, I don’t really believe in the idea of obstacles. There are situations, and there’s my ability to respond to them in one way or another. It’s not about obstacles, but about moments (or people) that help me grow, to become better.

C&B: What did things look like at the beginning of your journey, and how do you feel you have transformed since then?
Felix Crainicu: If we’re talking about the beginning of the European Art Workshop Cultural Association, it started during the pandemic. The artistic activities I was involved in (theater and social dance) were blocked. I felt the need to do something good, something that mattered. I made two phone calls, and that’s how the association was born. And now, just a few years later, it has gathered more than ten Erasmus projects, hundreds of workshops with seniors and children in Bucharest (we have a wonderful partner in DGASPC Sector 6), several documentary films, and much more.

C&B: If we were to meet your team or collaborators, what do you think they would say about you?
Felix Crainicu: I have no idea, that’s something they should answer. I hope they would say I’m someone passionate about life.

C&B: What is the most important decision you’ve made that changed your trajectory?
Felix Crainicu: To always be here and now. To never wait for anything. To create my own luck, not hope it will come from somewhere, someday. To find that thing that makes me burn and to burn for it.

C&B: What is the mission of the European Art Workshop and what values does it promote through its projects?
Felix Crainicu: The European Art Workshop Cultural Association represents a force for change in the community, dedicated to promoting art as a tool for social inclusion and personal development. Our activities take place in foster homes, social apartments, and high schools, where we implement cultural projects that address the real needs of young people.

We focus on two main artistic directions: film production and dance – areas that reflect the passion and experience of our members.

Our Values

Art – We use artistic expression as a universal language

Inclusion – We build bridges between young people from different backgrounds

Equality – We promote equal rights and opportunities for all

Friendship – We cultivate authentic relationships and fruitful collaborations

Perseverance – We embrace and value diversity

C&B: What do you think differentiates your business or professional approach from the rest of the industry?
Felix Crainicu: I don’t know how to answer that. I think it’s the kind of thing others should say about you. We just do what we know best, as well as we can, and we deliver on time. Every time.

C&B: What does a typical day look like for you now, and which moments bring you the greatest satisfaction?
Felix Crainicu: Some days I have time to swim and read for hours. Other days, I don’t even have time to eat sitting at a table. Between these two extremes, anything is possible. What makes me happy is knowing that, by the end of the day, I’ve lived those hours to the fullest, no matter how the day went.

C&B: Is there a story or project that has shown you the real impact of the association on people?
Felix Crainicu: Each of them has. They all mattered in their area of action. I’ll mention the newest project – We Frame The Change. For example, here we started from the idea that art is a bridge between our desire to take action and the target audience that can help us bring about beautiful change. This project started at the European Art Workshop, which reached out to trusted European partners. Together, we created this youth exchange (within a ten-month project), which teaches participants how to use art as a way to encourage active citizenship and generate proactive behavior in society.
More specifically, our project’s goal is to encourage active citizenship through visual storytelling.
Participants will gain a better understanding of the concept of active citizenship, the barriers to participation, and how to use storytelling through images to highlight and address community issues.
Participants will acquire: a) skills in using the photovoice method to document community issues, and b) storytelling techniques for effective communication and motivating action.
Through visual stories, participants will develop an active mindset for improving their community and motivating others to join them.

C&B: What advice would you give young people who want to build sustainable and impactful cultural initiatives?
Felix Crainicu: I don’t like giving advice. I never do. But I can say that if something is done out of passion, out of a real need to express something, to send a message, then it has real chances of turning out well. On a personal level, I also think it would make a big difference to engage with real, tangible, and breathable art, rather than focusing exclusively on the digital universe.

Felix Crainicu is living proof that passion for life, culture, and art can build real bridges between people and communities.

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Vlad Bobe is passionate about stories in general, and cinema in particular. He was fortunate to turn his passion into a profession from a young age, working in the documentary and short film industry. In recent years, he has expanded his portfolio to include branding and social media content creation.

C&B: From everything you do, what motivates you the most?
Vlad Bobe: Being a visual storyteller is what motivates me the most. But realistically, I think the truth is a bit more mundane. I believe 80% is technique and discipline—especially during filming and editing—and only about 20% involves shaping the actual story. Skill is both the limit and the fuel.
I find great joy in hearing someone’s story—whether it’s about a person, product, or service—and then finding the most compelling and appropriate way to share it as a videographer and content creator.

C&B: If we were to follow the narrative arc of your career, what have been the defining moments?
Vlad Bobe: I started by filming and editing events and interviews, but the moment I remember most fondly is volunteering at a film festival. It was the first time I felt I was in the right field, surrounded by people who shared my passion. That feeling was confirmed when I got into film school.
I continued working for years as an editor, then in cinematography as a videographer or director of photography. Eventually, I directed a few personal projects—something I hope to do more of. I still wear all those hats when working on concepts with my collaborators. It would’ve been much harder to finish projects without spending time in each of those deeply connected rooms, each with its own needs and challenges.

C&B: What has been the hardest moment so far, and how did you overcome it?
Vlad Bobe: There’ve been many, but the two I’m currently facing are probably the toughest: transitioning from freelancer to building an agency, and integrating AI into our workflow.
I was skeptical about AI at first, but once I saw the organizational, research, and planning potential—alongside creative tools like video generators—I felt like a kid doing homework while playing. I can’t wait to see how we integrate this further and improve our output.
As for the agency, I was never a “salesperson,” but this new setup brings me closer to the client. Though most of our main collaborators are marketing agencies integrating our work into their strategies, we also create content directly for brands or early-stage entrepreneurs.

C&B: Is there a dream or ambition that has always guided you?
Vlad Bobe: The dream is to keep doing what I do. I’m lucky to have found something that both challenges and helps me grow.
My ambition is to work on increasingly complex projects with international reach. It’s deeply rewarding to have your work seen by more people—that fuels the motivation to push beyond budget limitations and strive for better. Each current project is your best recommendation for the next one.

C&B: What were you like at the beginning, and how do you see yourself now?
Vlad Bobe: Shy, lost, and uncertain whether my work was good enough for any audience. But feedback is incredibly reassuring—it calms your doubts and gives you the courage to take on new challenges. That adrenaline helps you discover things within yourself you didn’t know existed.
The voice of the impostor never fully disappears, but with every project, it gets easier to manage.
And when you don’t know what each department in the production pipeline does, it’s harder to translate thoughts into images. Spending time across all those stages gave me confidence and erased many of my limitations.

C&B: If we asked your team or collaborators, what would they say about you?
Vlad Bobe: They’d probably say: “Stop obsessing over details.” And that the work we’ve done together is good enough—let’s release it and move on. Also, “Delegate more!” I still tend to do everything myself, which isn’t productive and limits the quality.

C&B: What decision changed your trajectory the most?
Vlad Bobe: Taking more creative risks and letting go of the fear around how my work will be received. When I consciously paused that kind of thinking, I felt freer creatively and more relaxed.
Overthinking makes you rigid and uncomfortable—totally counterproductive.
The second big decision was learning to properly value my services. Experience and past work build your present skillset. If I charge less, it should be because I’m investing in my growth—not because I don’t know my worth. That’s a challenge every freelancer faces.

C&B: Do you have a leadership style? Was it natural or learned?
Vlad Bobe: I think it came naturally—it’s just who I am. My approach has been transparency with my collaborators. When we brainstorm together, sharing external knowledge and ideas, the final image improves exponentially.
If you want to create something meaningful, you realize how dependent you are on others’ minds. That’s when this collaborative approach becomes the only option.
Everything serves the end product—something that will live beyond our decisions.
Being able to turn a serious, time-consuming project into something playful or team-driven is a life skill. Mistakes happen, but they get acknowledged, internalized, and corrected in the next project. That’s how value is built over time.

C&B: What makes you different? How is your work distinct from others in the industry?
Vlad Bobe: First of all, the people. The team’s structure is unique, and that shows in the outcome.
Secondly, I love sitting down with the client who needs content. I love listening to their story. It plays in my mind like a movie—who they are, why they offer that product or service, how they hope to help people, and what they envision for their customers. That’s where I find inspiration.
Often, it’s not wasted time for them either—it helps clarify or rediscover important moments and makes them more invested in the process.
We do research, provide options, but the strategy we move forward with is a joint decision. That’s crucial.
If you build something with love, you’ll lose yourself in details. It helps to have an outsider reframe your story.

C&B: What does a typical day look like now, and which moments bring the most satisfaction?
Vlad Bobe: The worst-case scenario is starting a new project with a completely blank slate. You stare into the void, which stares back and makes you feel guilty, because you’re almost certain your first ideas will be terrible.
But you persist, and gradually satisfaction builds as you find something that resonates with the project. Even if you discard it later, it helped you layer more and more until something solid takes shape.
This happens during production and editing too, but the ultimate satisfaction comes when you present the work to the world. When others build on it, see themselves in it, and make it part of their lives.

C&B: What values or principles guide your work?
Vlad Bobe: Curiosity is innate in me—I’ve built myself around it. And the pursuit of beauty, even if rarely attained, is always on the horizon.
Growth and learning are vital. I seek out things that open and feed my mind.
These principles help with adaptability—an increasingly crucial value in a world that changes so fast.
And finally—though certainly not least—a freelancer’s credibility is as strong as their reputation. Honesty with partners, collaborators, and clients is part of that and is felt from afar. It makes it easier to access good projects and maintain a solid network.

C&B: If you could send a message to people following in your footsteps, what would it be?
Vlad Bobe: I’m thinking about those just starting out, and I encourage them to copy and keep working until they find their own voice in the process. That’s what will make them stand out to clients.
And if ego gets in the way, remember—copying ends with execution, and that part belongs to you.
Another piece of advice I wish I’d received earlier is to listen to others’ opinions. We cling to ours because we know the effort behind it—but outside voices, separate perspectives, can enrich how we see and do things.
And let’s think long term. Build sustainably. Leave things at least as good as we found them—so those who come after us don’t waste time and energy fixing them.

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