Vanemuine
Subsequent directors prioritized entertainment value, while Kaarel Ird—who led Vanemuine for more than forty years—oversaw a blend of genres as well as tours of the Soviet Union.
Sachker translated plays by the German dramatist August von Kotzebue, and commonly employed the craftsmen of Tartu as his actors.
In 1878, August Wiera was selected by the Vanemuine Society as its song, orchestra and stage director, in return for a percentage of the events' income.
At a peak time of russification, Wiera gathered around him a large group of people interested in Estonian music and plays.
In his memoir From the "Vanemuine" Paths, the actor Leopold Hansen described Wiera as a very energetic individual who "assembled in himself several stage specialties", being a music, ballet and play director, as well as vocal coach.
Wiera had two stage directors to help develop the theatre: Ludvig Menning (years 1878–1886) and Hugo Techner (1886–1891), who mostly took on drama productions.
At the expense of an A. Grenzstein, two fountains were installed, one to each side of the stage; however, these were purely ornamental, as the water would damage the orchestra's instruments.
the interior was heavily ornamented, with A. Weizenberg's sculptures "Dawn" and "Dusk" sitting at the top of the lobby staircase railings.
The house, with its two powerful towers on the streetside, reminds us of something heavy, long lasting, steady, something that is not to be crushed easily, that will not bend, and that wants to protect itself.
Educated in Estonia, Germany, and Western Europe, Menning chose Kitzberg's play Tuulte pöörises ("In the Whirl of Winds") as the company's inaugural performance.
Instead of operettas, which he considered to be dangerous to the good taste of actors and the audience, Menning promoted the establishment of the Vanemuine Symphony Orchestra (1908).
In theatre, Menning emphasized psychological realism, moving away from Wiera's prompters in favour of actors' inner and external incarnation into the role.
After Menning's departure, the management of the Vanemuine theatre was given to Ants Simm, who served as artistic director and head stage between during 1914 and 1921.
Under Simm, Vanemuine's repertoire was dominated by operettas and comedies, By 1916, eleven of the company's twenty-one actors had left, including several who disagreed with the focus on popular entertainment.
[a] The orchestra, conversely, grew rapidly under head conductor Juhan Aavik; in 1915, for example, it held 95 performances, including several in the garden.
Thespians such as August Sunne, Eduard Türk, Rudolf Ratassepp, Anna Markus, and Mari Möldre regularly performed works of music theatre.
This drew criticism from the intelligentsia; for instance, a 1929 memorandum signed (among others) by August Annist, Alfred Koort, Andrus Saareste, Juhan Sütiste, Juhan Semper, Gustav Suits, Aino Suits, Elo Tuglas, and Friedebert Tuglas decried the "abnormal situation" and threatened the establishment of a new company.
Artistic directorship was also taken by Andrei Poljakov (1950–1953), who did not speak Estonian, and by Ants Lauter (1953–1955), during periods in which Ird was removed from his role.
In his numerous speeches and publications, Ird repeatedly brought up Menning's ideals: psychological realism, ensemble-play principle, and the development of national dramaturgy.
In 1956, soon after Ird returned to the position of drama director, members of Vanemuine were given the opportunity to present Estonian art and literature in Moscow.
Such thoughts sprung up at the performance of the Estonian art masters that – we repeat – offered great pleasure and aesthetical satisfaction to the Ukrainian theatre guests."
As ideological control weakened during the late 1960s, the Vanemuine found a common language with the audience even as the company continued to travel around the Soviet Union and host Union-wide meetings and seminars.
In Vanemuine, young directors such as Jaan Tooming and Evald Hermaküla brought to stage A. Kitzberg's Laseb käele suud anda (Allows to Kiss on the Hand) and P. E. Rummo's Tuhkatriinumängu ("A Cinderella Play").
Ird remained a prominent director with Vanemuine, with successful productions including Külavahelaulud ("Village Songs", 1972) and Tagahoovis ("In the Back Yard", 1974).
The Vanemuine company continued its tours through the 1970s and 1980s, with destinations including the German Democratic Republic (1971, 1973), Hungary (1972), Finland (1974), and Sweden (1983).
Organizers wished to see Põrgupõhja uus Vanapagan ("Hell's New Old Nick"), but as the hosts were unable to solve technical issues, Tagahoovis ("In the Back Yard") was performed instead.
From 1994, it experienced an uphill struggle, which it weathered through core actors such as Liina Olmaru, Merle Jääger, and Raine Loo, as well as new directors such as Ain Mäeots (Susi / "Wolf", 1995) and Tiit Palu.
During that period Mati Unt was a common guest director, while other successful productions were directed by Mikk Mikiver ("Twelve Angry Men", 1997;) and Finn Poulsen ("The Story of the Little Old Man", 1996).
Guest directors have come from abroad, including Barrie Rutter (United Kingdom) and Aljona Anohhina (Russia), as well as Estonia (Uku Uusberg, Ingomar Vihmar, Hendrik Toompere jn).
There are many guest directors Memorable drama roles have been made by Hannes Kaljujärv, Aivar Tommingas, Külliki Saldre, Merle Jääger, Jüri Lumiste, Riho Kütsar.
