In this paper, I examine three performances chosen from the ones created by the Targu Mures National Székely Theatre in the mid-1950ies, according to the ideological principles of fraternal coexistence between Romanians and Hungarians. Based on my analysis of the hierarchical discourse around the premiers of Torchlight by Gyula Illyés, Varga Katalin by Ágoston Horváth and Budai Nagy Antal by Károly Kós in 1954, 1955 and 1957 respectively, my claim is that in Targu Mures in the mid-1950ies, the creation of a strictly controlled repertoire accompanied by critical declarations was one of the state’s attempts to influence historical remembrance.