Catarina and the Beauty of Killing Fascists: British Audiences Brace 2026

Catarina and the Beauty of Killing Fascists is a provocative new play by Portuguese playwright Tiago Rodrigues that has already sparked intense reactions in Germany, and now British audiences are bracing for impact as it arrives at London's National Theatre.

The play centers on a macabre family tradition: once a year, relatives gather in the southern Portuguese countryside to kill a kidnapped fascist, avenging the real-life murder of Catarina Eufémia, a harvester in revolt. The ritual is both a political statement and a theatrical device, designed to provoke audiences into confronting their own complicity with fascism.

What Makes the Play So Controversial?

The controversy stems from its unflinching depiction of violence as a means of political resistance. In Bochum, Germany, the audience jeered, whistled, and even threw objects at the actor portraying a far-right politician. Two spectators climbed onto the stage, attempting to wrestle the actor off. These scenes of audience participation—or disruption—have become a hallmark of the play's impact.

Rodrigues, however, is unfazed. "I was not surprised by the reaction," he says. "I was surprised by the fact that it was so surprising for so many people." He describes the audience's response as "very intense" but also "typical," suggesting that the play's ability to blur the lines between art and reality is precisely its point.

The Historical Context: Catarina Eufémia

Catarina Eufémia was a Portuguese farmworker and trade unionist who was murdered in 1954 during a strike against the Salazar dictatorship. Her death became a symbol of resistance, and Rodrigues uses her story to explore themes of justice, revenge, and the ethics of political violence.

The play asks difficult questions: Is it ever acceptable to kill a fascist? Does violence beget violence, or can it serve as a necessary catharsis? These questions are not abstract—they resonate with contemporary political tensions across Europe and beyond.

Audience Reactions: A Global Phenomenon

The German premiere is not the only instance of audience disruption. Similar scenes have occurred in other countries, suggesting that the play taps into a universal nerve. The table below summarizes reactions from different venues:

These reactions highlight the play's ability to polarize audiences, forcing them to confront their own beliefs about fascism, justice, and the role of art in political discourse.

Will British Audiences React Differently?

British theatre audiences are known for their politeness, but recent years have seen a shift. Political plays, such as those by Caryl Churchill and James Graham, have sparked walkouts and heated discussions. The National Theatre's production of Catarina and the Beauty of Killing Fascists is expected to generate similar responses.

Rodrigues believes that British audiences will be "engaged but perhaps more reserved" initially, but he hopes the play will provoke the same level of introspection and debate as it has elsewhere. "The play is a mirror," he says. "It reflects the audience's own anxieties and desires."

Key Takeaways from the Play

• The play challenges audiences to question the ethics of political violence.
• It draws on historical events to comment on contemporary fascism.
• Audience reactions vary widely, from walkouts to standing ovations.
• The play's immersive style blurs the line between spectator and participant.
• It is a must-see for those interested in politically charged theatre.

FAQ

As the play prepares to open in London, audiences are gearing up for a theatrical experience that promises to challenge, provoke, and perhaps even disturb. Whether you agree with its message or not, Catarina and the Beauty of Killing Fascists is a production that demands to be seen and discussed.

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