“Let us have our tongues/ Plot some device of further misery/ To make us wondered at in time to come.” Experimental and raw, Titus Andronicus (written in 1589-91, first published in 1594) carries in itself the embryo of all the future tragedies by Shakespeare. In the story of Titus, the general who returns to Rome after vanquishing the Goths, with its bloody power struggles, indistinction between civilisation and barbarity and moral and political decadence, stage directors Cátia Pinheiro and José Nunes discover a “frightening relevance”. Rather than a reinterpretation of Shakespeare’s play, they offer us a critical meditation on how the mechanics of power, revenge and dehumanisation remain active, and even normalised, in contemporary society. Their Titus carries the weight of the present time, of the wars that ravage our days, of our outspoken trivialisation of violence. “O sweet Revenge, now do I come to thee.”