There’s a fascinating story in The Popess: Instructions for Freedom, struggling to get out. The play starts in Milan, sometime in the thirteenth century. The church is in charge, largely led by men. There’s a clear correlation between the amount of money you have and your chances of getting into Heaven. Both these things are likely to be less if you’re female.

Into this patriarchal stew came Guglielma. Daughter of the King of Bohemia, she took refuge in a monastery with her son and while there, gradually built a following of people who were certain she was the Holy Spirit made into flesh. Before her death, she appointed a noblewoman, Maifreda, as a female pope. Maifreda’s increasing number of followers ultimately brought her to the attention of the Inquisition.

Writer and performer Elena Mazzon has clearly done a lot of research about these fascinating historical figures, though limited evidence of either woman survives. She has a quiet stillness as a performer that works especially well when she speaks of religious contemplation. She makes valiant attempts to involve the audience in the telling of her story. We’re asked what we would be willing to die for. We sing a tribute to Guglielma. As Inquisitor, she gives us the chance to confess the ultimate heresy: believing that God could ever come to earth in female form.

Mazzon’s script needs more work. There are lots of interesting themes in this simply-staged production (Colin Watkeys): early feminists, the role of religion when science was less understood, the complicity of the crowd, the role of the individual in the face of a collective threat. But a confusing narrative leaves this audience member with more questions than answers. That said, it’s a story worth untangling to celebrate women who’ve been extraordinary throughout the ages.

The Popess: Instructions for Freedom is at PBH’s Free Fringe – Carbon – Room 2 until Sun 25 Aug 2024 (except Mon 19) at 14:00