Tiago Rodrigues’s play *Catarina and the Beauty of Killing Fascists* offers a two-and-a-half-hour exploration of political violence, blending surreal elements with episodic storytelling. Originally debuted in Portugal in 2020 and performed in Portuguese without an intermission, the production features surtitles and is co-produced by a network of European festivals. Rodrigues, also an actor, writer, and current director of the Avignon Festival, uses the piece to probe themes of extremism and ideological confrontation, though its fragmented narrative and heavy symbolism have elicited mixed reactions.
Set in the fictional summer of 2028 at a country house, the drama centers on the descendants of Catarina Eufemia, a Portuguese farm worker killed by police in the 1950s. Each year, the clan—who all adopt the name Catarina and wear dresses regardless of gender—enacts a ritualistic killing of a fascist figure as an act of retribution. However, the play presents a turning point as the group confronts the reality that their political adversaries are gaining broader support.
A pivotal scene involves a young woman, portrayed by Beatriz Maia, who hesitates when given a gun to kill the captive fascist. This moment of doubt introduces questions about the efficacy of violence as a response to extremist ideologies. The narrative builds toward an extended monologue delivered by Romeu Costa’s character, a polished far-right politician, whose speech has reportedly incited unrest during performances in other European venues. In this staging, audience reactions ranged from audible intakes of breath to derisive whistles, reflecting divided responses to the contentious material.
Critics note the fragmented storytelling leaves characters functioning largely as ideological mouthpieces rather than fully developed individuals, resulting in a sense of monotony after the opening hour. The play deliberately eschews deeper engagement with the complexities of Portuguese historical context or a nuanced discussion of political terms such as fascism and populism. Instead, it embraces a left-leaning script, which some observers suggest limits its broader resonance and reduces the potential for multi-faceted political debate.
Despite its ambitious ambition and provocative subject matter, *Catarina and the Beauty of Killing Fascists* offers a challenging theatrical experience marked by a surreal atmosphere, dense symbolism, and dramatic tension centered on the cycle of political violence. The production’s reception underscores ongoing debates within contemporary theater about how best to grapple with extremist ideologies and the role of art in political discourse.