Mystical visions in a time of tension

A lament interrupted our awaiting. A lament that soon transformed into a deep prayer. And back into a lament. Then suddenly a nun, all clad in white, appears in the balcony above us, clutching a crucifix that she will never let go of. Is this a profound mystical experience or a sheer act of mad desperation?

This striking moment was the opening of the performance Il-Viżjonijiet ta’ Santa Marija Maddalena de Pazzi (produced by the Jesuit Church Foundation), performed at the oratories of the Jesuits’ church in Valletta.

St Mary Magdalene de Pazzi was a 16th-century Italian Carmelite nun and mystic whose visions had a strong performative nature. As she described, or rather narrated, her visions, her fellow nuns would follow her across the rooms of the convent.

The play was performed at the oratories of the Jesuits’ church in Valletta.

The excellent introductory speeches by Alexander Vella Gregory, artistic director of the cultural programme The Oratories, and Rev Dr Fr Charlò Camilleri provided us with the required historical and theological context. This transformed what would have otherwise been a meagre example of promenade theatre into a cleverly designed immersive theatrical experience.

As we moved from one space to the other in the gorgeous oratories (which was also a splendid and golden opportunity to admire the art and architecture of these sacred sites), we became active agents in the drama, enacting the role of the Carmelite nuns, who in awe, but possibly out of curiosity too, could not resist following the mystic, even though at times she rebukes us and chases us away.

Sharon Bezzina is no stranger to one-person performances. In the past, we saw her act in theatrical works inspired by the poetry of Doreen Micallef and the spirituality of Simone Weil. In this performance she incarnates the saint, leading us through a journey of spiritual profundity and at times existentialist angst.

The play centres on St Mary Magdalene de Pazzi – a 16th century Italian Carmelite nun and mystic.

Bezzina grabs our attention from her first cry and keeps us mesmerised till the poignant ending where she breaks down, as though crucified to the altar. The deeper her longing, the more estranged she is from her object of desire.

The direction of Joseph Galea was meticulous and well-studied. Galea was not afraid to make use of different rhythms, including pauses, to allow the work to speak to the audience. He boldly did not shy away from shedding doubts on the psychological stability of the mystic.

The ultimate result was a work that challenged us with questions, without ever becoming cerebral or disengaging us from the tormented emotional trajectory of the protagonist.

The working relationship that Galea had with Bezzina was evident. Together they explored the space and exploited it to provide the audience with a multi-sensorial experience.

The direction of Joseph Galea was meticulous and well-studied.

There were moments that impressed me in a salient manner, such as the use of the candles in the sacristy or the banging of the gate in the oratory before Bezzina’s triumphant entrance as bride of Christ. This sensorial feast was enhanced and crowned by Vella Gregory’s live playing at key moments in the performance.

In a secularised society where the tension between belief and humanism is ever growing, Il-Viżjonijiet ta’ Santa Marija Maddalena de Pazzi provides a platform for dialogue and reflection. On one hand, it offers a spiritual experience, very apt in the Lenten season, yet on the other hand it depicts the deep yearning that we have as human beings to connect meaningfully and significantly.

Il-Viżjonijiet ta’ Santa Marija Maddalena de Pazzi is one of those works of art that remain impressed in one’s psyche. It is a pity that such works are short-lived locally: their universal appeal, embedded in strong theatrical craftsmanship, deserve to be witnessed by a more extended audience.