‘We Apologise for the Inconvenience’
In Romania, We apologise for the inconvenience is the familiar notice that appears whenever something has stopped working. In Radu Iacoban’s Ne cerem scuze pentru disconfortul creat, it is marriage, or perhaps the traditional idea of family itself, that seems to be malfunctioning. Teatrul Mic’s production is daring in its format, frequently hilarious and surprisingly nuanced in its examination of contemporary Romanian society.
The evening begins the morning after a wedding. The guests sit among the wreckage of the reception, hungover and exchanging accusations. We gradually piece together the relationships between the bride and groom, their relatives, friends and godparents, before the audience divides into smaller groups and moves through different rooms to discover what happened the night before.
It is an inspired use of immersive theatre. Rather than simply bringing spectators closer to the action, Iacoban uses the format to uncover the histories behind each character. Conversations overheard in one room cast new light on encounters elsewhere, gradually revealing how everyone arrived at this rather disastrous celebration. There is also something deliciously indiscreet about standing in a bathroom while someone’s marriage unravels, close enough to feel that we really ought not to be listening.
Among the strongest scenes is the confrontation between the groom (Vlad Ionuț Popescu), a liberal photographer, and his father (Virgil Aioanei), a railway worker drawn to nationalist politics. His Dacian tattoo and furious political monologue are immediately recognisable to anyone familiar with contemporary Romania, or indeed a Bucharest taxi ride. Yet what begins as an amusing portrait of political division develops into something more touching. Beneath the father’s bluster is a man struggling to express affection for a son whose values he cannot understand. An icon discovered in the fridge becomes an unlikely but revealing symbol of their relationship.
The bride (Silvana Mihai), meanwhile, shares a deeper connection with her best friend (Ilinca Manolache) than with her new husband. Their confrontation in a bathroom, complicated by the arrival of a friend visiting from abroad (Diana Cavallioti), raises questions about desire, loyalty and the expectations attached to marriage. Mihai gives the bride genuine emotional complexity, while the intimate staging makes the encounter particularly affecting.
Through these relationships, Iacoban challenges the conventional family structures still deeply embedded in Romanian society. Parenthood does not necessarily bring understanding, marriage offers no guarantee of fidelity, and emotional intimacy often exists outside the relationships society chooses to recognise. The play is at its most effective when these contradictions emerge through humour rather than overt commentary.
Cavallioti’s returning emigrant introduces another distinctly Romanian tension. Having built a life in America, she returns convinced of its superiority, despite her own complicated circumstances. The satire is enjoyable,
the character occasionally leans on familiar diaspora stereotypes.
Elsewhere, the godparents (Marian Olteanu and Oana Pușcatu) reveal another failing marriage, with the bride’s therapist mother (Valentina Popa) uncomfortably entangled in their affairs. Olteanu’s outrageous seduction scene is a particular comic highlight.
Tudor Prodan’s surreal touches, including an absurd duck that earns one of the evening’s biggest laughs, complement the production’s playful tone. Aida Šošić’s music lends the final reunion an unexpectedly mournful quality.
The head waiter’s (Andrei Brădean) concluding story, involving his wife and artificial intelligence, is intriguing, although its connection to the wider narrative remains unclear. At two hours and forty-five minutes, including an interval, the production could also benefit from some tightening.
Nevertheless, Iacoban achieves an impressive balance between comedy and serious social commentary. The production is unmistakably Romanian in its references, yet its questions about love, family and belonging reach well beyond its setting.
Above all, its immersive structure is integral to its success. By inviting us to discover the contradictions, vulnerabilities and private disappointments behind each character, Iacoban challenges not only the conventions of marriage but also our instinct to judge those who fail to conform to them.
Production details
Teatrul Mic, Sala Studio, Bucharest
Production: Ne cerem scuze pentru disconfortul creat (We Apologise for the Inconvenience)
Immersive theatre
Written and directed by: Radu Iacoban
Set design: Tudor Prodan
Original music: Aida Šošić
Principal cast: Silvana Mihai, Vlad Ionuț Popescu, Virgil Aioanei, Ilinca Manolache, Diana Cavallioti, Marian Olteanu, Oana Pușcatu, Valentina Popa, Andrei Brădean
Running time: 2 hours 45 minutes, including interval
Closing date: In repertoire at Teatrul Mic, Bucharest 26 noiembrie 2026
Photo credit: Cosmin Stoian