Castro (1598), a play by poet Ant√≥nio Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal‚Äôs first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and In√™s, making us ‚Äúsee with other eyes‚ÄĚ. An immense stage-house-country confronts us with the tangible intimacy of characters that are in thrall to themselves and their intransigence. In Castro, like in Danton‚Äôs Death, the issue of utopia (as regards love, as well as revolution) plays a crucial role. Its dark reverse is exposed here: love/desire and power as addiction and chaos, as a blindness that ‚Äútarnishes/ The briliant rays of the ancient glory‚ÄĚ. And how that tarnishing impairs the powers of decision and replicates itself, tainting with blood and revenge the family‚Äôs fabric, via a peculiar dislocation of Castro‚Äôs focal point from In√™s to Pedro‚Äôs mirror-like relationship with his father, King Afonso IV.