Suddenly, a play by Molière crosses the path of Teatro da Garagem. A joyous anomaly, if we remember that this company is not known to resort to the classic dramatic repertoire, basing instead its artistic identity on the texts of playwright and stage director Carlos J. Pessoa. Why Molière? And why Tartufo [Tartuffe] (1664), a meditation on lying and hypocrisy, but also on the essence of the theatre, that hellish, deception-producing machine? With Tartufo, Teatro da Garagem invites the audience to revisit a classic text, here in a Portuguese translation by poet Regina Guimarães, with all the modesty of someone who is learning to read anew, encouraging us to build bridges between the past, the present and the future. “When are we most deceived? When we act like Tartuffe, or when a Tartuffe swindles us?”, Carlos J. Pessoa asks us. In a show focused on the text and the actors, the stage director looks at Molière’s classic play and discovers an ignoble theatre than runs through the veins of all its characters. A theatre in which there are neither heroes nor villains, just creatures that breed pestilence and combat it, paranoiacally obsessed with cleansing and purifying themselves. “Are we condemned to Tartuffian intoxication?”