The legendary and tragic love story of Dom Pedro and Dona Inês de Castro begetted a rich line of artistic creations, not all of them Portuguese. In the wake of Garcia de Resende (in Cancioneiro Geral, 1516), Camões (in Canto III of The Lusiad__s, 1572) and especially António Ferreira (in Castro, 1587), Spanish playwright Luis Vélez de Guevara (1579-1644) dealt with the subject in Reinar Depois de Morrer [To Reign after Death, 1635], a three-act play that the Companhia de Teatro de Almada now brings back to the stage, in an adaptation by José Gabriel Antuñano and under the direction of Ignacio García. Guevara’s play, one of the most representative comedias of the Spanish Golden Age, was published in Portugal for the first time in 1652. It presents an intensely lyrical version of this famous historical episode, in which the reason of State – which could be called today a politically correct reason – opposes and overwhelms love and individual freedom. Focusing on how that opposition dominates the four main characters, shaping their actions, dilemmas and pains, Reinar Depois de Morrer invites the viewer to meditate on a perennial subject: “The supremacy of social rules over the (always weaker) individual who questions them.”