Playwright, cinema scriptwriter and director Pablo Remón decided to rewrite a work every five years. It has the same starting point and it is executed by the same actors. But as Heraclitus said 25 centuries ago, no man ever steps in the same river twice. And not even the man is the same as he accumulates a past. Neither Remón nor his actors, Fernanda Orazi and Emilio Tomé, are the same five years later. What premiered at the longed-for Pavón Teatro Kamikaze in 2017, which was called Barbados, etcétera, is not the same show that will premiere at the festival in 2022.

The reason for this utopian endeavour, rewriting a work every five years until it cannot be done again (due to death? exhaustion? why?) is to ‘make it always remain alive’, according to Remón.

If for Harold Pinter ‘the past is a mist’, for Remón this is realised especially when we speak of a couple’s past. ‘What is a couple, beyond the past that ties them together? We are what we have been and the story that explains how we’ve reached this point. But this history is not written in stone; it’s movable and variable. To survive as a couple, we’ve got to be able to tell our story.’ And Orazi and Tomé are devoted to this honourable goal. The actors narrate the story of a couple with humour, astonishment, pleasure, amusement, lies, inventions, darkness, adventure and with love. But – dammit – sometimes the same history two people have lived does not match at all when each of them tells it. Let’s try again. We’re going to tell it again. Let’s seek clarity in the mists of memory. And every time it is told, it is different, like a Bach piece. Every time it’s told, the order of the episodes is altered. How to communicate as a couple if memory plays tricks on our pasts? The answer is in Barbados.