We are familiar with the irreverence of João Garcia Miguel’s stage creations. There are, for instance, his bold treatments of Shakespeare in Burgher King Lear (2007) or of Calderón de la Barca in La Vida Es Sonho (2015). Now, he returns with Um Plano do Labirinto [A Plan of the Labyrinth], in which he adapts a text by Francisco Luís Parreira (marking the fourth joint creation by their “close and durable relationship”), to whom the reverberation of his chosen historical situations or ancient texts acts as a revelation of what we are today – he is responsible for an amazing Portuguese translation of Babylonian poem The Epic of Gilgamesh, one of the oldest texts in the world. After Lilith, which looked at the crisis in Greece/Europe, Três Parábolas de Possessão, filled with Biblical references and the Israeli/Arab conflict, and a free version of Euripides’ Medea, Um Plano do Labirinto is a polyphonic mythological tale about the 20th-century Portuguese diaspora in the Orient and in Africa, questioning itself/us about the truth and falsity in many collected stories that originated in “our” war “overseas”. One of them, quite remarkable in its “indifference to truth”, tells of an immaterial confrontation between soldiers in patrol and an antelope herd in the unexplored savanna. “Why do these stories lie so brazenly?”