Paco and Tonho work in a street market in a huge metropolis. Both are young and poor. Tonho is full of dreams, but can't look for a better job with the pair of shoes he's got. Paco has beautiful, brand new shoes. The conflict is established.

Supported by Brazilian Embassy in London as part of the BRASIL 500 FESTIVAL, Flame, Queen Mary University of London, Pip Printing adn Pluto Productions.
The British Premiere of one of Brazil's foremost playwrights
The play was Critics' Choice in The Metro newspaper and established the company's reputation as a "terrifying force with universal relevance".
Plínio Marcos’ drama about two urban bums hit Brazil with a twack in 1967, and was banned shortly afterwards. The avalanche of expletives, the shockingly degrading urban seediness, and the theme that “real men don’t pull punches” was too much for the military run society, and his continuing subversiveness meant that the same fate of censorship greeted his next 20 plays.
- Rachel Halliburton, Evening Standard
The founding father of a Brazilian proletarian theatre, Marcos' naturalistic two-hander deals with two street kids who fight over a new pair of shoes. Paco and Tonho work in a street market in a huge metropolis. Both are young and poor. Tonho is full of dreams but cannot look for a better job with the pair of shoes he’s got. Pack has beautiful, brand new shoes. The conflict is hence established. Plínio Marcos never had a formal education, was a circus clown, mechanic and footballer. He writes about the underground, his characters are the dispossessed - as he himself was.
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