A heroine against the contempt of the Catholic, Apostolic and Roman Church

Mary Magdalene was not a sinful prostitute, but one of the apostles and a companion of Jesus Christ. She stood at the foot of the cross and delivered the good news of the resurrected Christ. Furthermore, she is the central figure in a theatrical production that reclaims the true role of women in history in a show where the captivating audiovisual component largely compensates for the shortcomings of the text and the dramaturgy.

Mary Magdalene is, therefore, the protagonist of a complete reinterpretation of the history of the Roman Catholic Church, according to which, miraculously, bishops in a mystical state recognized the four canonical gospels (of which the originals are lost) and apocryphal gospels, such as the Gospel of Philip, where Mary Magdalene and women played a more prominent role. The Church despises her and Carme Portaceli and Michael De Cock This makes it a spearhead of the feminist crusade in a work that transcends historical documentary, but focuses attention on the problems of a woman who has just separated from her husband and whose husband wants to take custody of their daughter, arguing that he is incapable of protecting her.

As we said, the production is magnificently presented and relies almost entirely on audiovisual elements, with impressive projections (Joan Rodón) on a giant screen that fills the entire proscenium of the Sala Gran; fantastic lighting design (David Picazo), which creates beautiful landscapes; the atmospheric live musical score (Laia Vallès) and the voice of soprano Ana Naqe; the powerful choreography by Ferran Carvajal; and even the presence of a live artist (Alessandro Arcangeli). In our opinion, there are casting errors and a certain lack of coherence in the transitions. Ariadna Gil shines because she places her voice like no other, but the one who steals the show is Miriam Moukhles in the most vibrant and genuine scene of the performance, when she presents the dilemma the girls face between being how they're told they should be and being who they are. He also delivers the Beatitudes in a feminine way, uttered by a taxi driver Jesus who is more effective as a dancer than as an actor.