Alexandra Badea’s “Secundar” at the National Theatre: A Critique with Fire and Brimstone!
Acclaimed playwright and director Alexandra Badea, who recently clinched the Académie française’s theatre award in Paris, has returned to her native Romania. She brings with her a reputation for excellence and boldness, aiming to shake up local theatre traditions that often dwell on provincialism. Her latest project, “Secundar,” is not only a critique of secondary roles but also an exploration into the depths of societal norms.
The production itself is a marvel of technical precision: Cosmin Florea’s set design and Boróka Biró’s direction are in perfect harmony with Badea’s intricate narrative. Yet, despite this brilliance, “Secundar” fails to resonate deeply with its audience, leaving many to question the true essence of the play.
The plot unfolds within a theatre troupe where each character is reduced to their role and status—be it leading or supporting. It’s a reflection on how life often thrusts us into secondary roles, diminishing our sense of self-worth. But Badea’s ambitious script, dense with philosophical musings, sometimes overwhelms the audience, making the message difficult to grasp.
While “Secundar” boasts an impeccable execution and a thought-provoking concept, it struggles to convey the emotional core of its narrative effectively. The dialogue is overly verbose, drowning out the poignant moments that should move us deeply. This verbosity coupled with a didactic feminism makes for a frustrating viewing experience, as if the play is constantly pulling itself back from achieving its full potential.
In an era where theatre seeks to provoke and inspire, Badea’s “Secundar” falls short of eliciting the emotional response it aims for. Despite its artistic merits, it leaves spectators yearning for that elusive connection with the human experience that great art strives to capture.
