On stage, an author confronts the characters from one of her novels—their urgent need to exist, their ability to reflect, and their capacity to challenge the one who created them. Clarissa and Septimus, the protagonists of *Mrs. Dalloway*—which will mark its centennial in 2025—are ghosts and mirrors, the author’s doubles, creatures who escape the novel to demand, in Pirandellian fashion, to be told.   
While Virginia questions her own existence as a writer—distracted by the sounds of airplanes, inner voices, and fragments of everyday life, unable to find a beginning that satisfies her—Clarissa and Septimus press her with their urgency to exist and to tell their stories.  
In *Fear no more*, Virginia Woolf’s words, rewritings, poetic fragments, and evocative images intertwine. And, above all, there remains the echo of a line, taken from William Shakespeare’s *Cymbeline*, repeated by the two characters like a mantra, like an omen: “Fear no more the heat o’ the sun / Nor the furious winter’s rages.” For there is nothing to fear, not even death—which is inevitable and should be embraced as a final refuge from life’s hardships; fear itself, perhaps, is the only thing from which we can truly free ourselves.