We bring to a close our latest series of readings, dedicated to some of the most epoch-making shows hosted by the Centenarian Teatro São João. In this final breath, we gather three problem-plays presented within the context of the highly censored Portuguese stage of the pre-Carnation Revolution years. We will begin with Artur Miller’s As Bruxas de Salém [The Crucible] (1953), a denouncement of intolerance brought to Porto by the Companhia Rey Colaço-Robles Monteiro in 1962. According to the contemporary press, that production was “a victory for the mind”. In 1959, Francisco Ribeiro (aka “Ribeirinho”) made history with À Espera de Godot [Waiting for Godot]. Samuel Beckett’s play had come to Portugal “only” six years after its world premiere. Jorge de Sena celebrated Ribeirinho’s “courage”, adding that, for once, “a much-discussed work had arrived at the time of being discussed”. Insulto ao Público [Offending the Audience] was another theatrical event which “troubled” the Portuguese dictatorship. Grupo 4, a company that counted among its founders João Lourenço and Irene Cruz, brought it to Porto in 1972, and its first presentation was welcomed with “persimmons hurled from the stalls”. With Insulto ao Público (1966), Peter Handke wanted to do “something onstage against the stage, using theatre to protest against the theatre of the moment”…