Interview with Zoe Costache

Everyone in the theater calls her Zoe or Misses Zoe. She’s 53 and wants to retire from Teatrul Foarte Mic (The Very Small Theatre). She worked at the wardrobe, at dressing room maintenance, and now she’s a technical director and handles dressing room maintenance as well. She’s very high-spirited and very observant. She’s fond of every performance and she’s very devoted to her job.

When did you start working for Teatrul Foarte Mic?

I was transferred here from Teatrul Masca. I had been working there for two years. The actors cried when I left. I came here at the end of 1998. I was pregnant. They assigned me straight to the dressing rooms, but there weren’t as many performances back then. There were only two or three. Teatrul Mundi were staging their plays here, they’d rented the hall. After I gave birth, someone else was given my job and when I returned after two years, I was assigned to the delivery service. I spent six months there and then they sent me to the wardrobe. My colleague, Petronela, fell down the stairs, at dressing room 2. She was in a hurry, she had work to do both upstairs and downstairs at the dressing rooms. Then Mr. Mandiuc, the one in charge of all administrative issues, called me and said: “Zoe, get dressed now and come to the dressing rooms.” It happened during the staging of Paparazzi. And I spent 11 years at the dressing rooms.

Why did you leave Masca to go to Foarte Mic?

My husband was working at Masca, too – as a technical director – and he was transferred to Foarte Mic. And he took me with him. What could he have done, leave me there?

What’s your work schedule? What exactly do you do?

I do the washing, the ironing, I take care of all the changes done backstage and in the dressing rooms. If an actor has any modifications to make for a certain scene, I have to be prepared. I really enjoy working with actors, it’s a nice atmosphere.

Could you take me through one of your workdays? A show day, perhaps.

I come in at around 14.30-15.00, because I have to do the ironing and get the costumes ready. Then I make coffee. By the time the actors arrive, I have everything ready. The performance starts at 19.00 and I have to let the public in – I’m also the technical director now – and I make sure everything’s running smoothly during the performance. Because I’m also a technical director now, I have to take part in the rehearsals, as well […].

Where did you work before coming to work in the theater?

I completed ten school years. Well, actually, when I finished eighth grade, I registered with an agricultural school. I didn’t like it there, I said to myself “what am I gonna do, go in the fields on a tractor?” My brother came to take me away and I came back to the village to go through ninth and tenth grade. […]

What did you do after school?

I did nine months of sewing at APACA. I didn’t like it. I mean, I’m good at it, but it wasn’t what I wanted to do. After sewing, I worked at Danubiana[1] handling the supply and demand of raw materials, and from there I left for Teatrul Masca and then for Teatrul Mic. I have about 27 years work experience and I’d like to retire here, in the theater.

Did you make good money at APACA?

At APACA I worked on the button seams and at the end of the supply line, meaning I checked if the fly and the pockets matched. I don’t remember exactly how much I was making, but it was enough. I left Danubiana with 800 lei. It was a lot at the time. And we had food stamps, cold food, we had a lot of benefits. But it didn’t last long.

Is the money enough now?

It’s not. I have to pay the bank and there’s so much stuff to do. My husband works as a taxi driver and it’s not going well, our little girl is in school and she needs things, too. We save, but… what can you do? There’s little money working in the theater. The actors earn little, as well.

Are you happy with the working conditions in the theater?

I’m happy because I love what I do and I’ve grown fond of the people. The money is what it is – now it’s ok because I get paid for both the dressing room work and the work as technical director. All theater employees are underpaid. We’re lucky whenever there’s a festival and we get some extra money for the performances outside the usual theater program. I think people should fight for their wages, for the rights they have after working so many years.

Is there solidarity between theater workers? Do you think things would change if there was a strong union?

I think so, but we should all stick together. Now they all have their own personal issues, their own needs. I’m in the theater union. Some withdrew and now they regret it. But there are some benefits.

Like what?

At Easter or Christmas we get a 100 lei voucher. And it comes in handy. […]

What fond memories do you have of your day-to-day work?

Well, when I was hired, after a screening, we would all go to a restaurant – the machinists, the people from electrics, the sound technicians. And it was so nice! Everyone would come along, no distinctions would be made. Now we don’t go as often. We went after O viață în teatru (A Life in the Theater) and it was very nice. We stayed until 1 a.m. It’s like you leave happier, more at peace with yourself. There were also sad moments, like when actors passed away. I felt very sorry when Mrs. Albu died – Mr. Veroiu’s wife. She would tell me off for smoking when I was pregnant and she’d bring me sweets and fruit. After her, it was Mrs. Gilda Teodorescu. We shared a room on tour. Relationships change and you feel there are people who have a lt of respect for you even though they have something above you. They don’t differentiate. It’s important to have respect in work relations. People should be people regardless of their status.