This contrasts with Tóibín’s Mary, who seems more like an educated modern sceptic. Madonna of Humility by Fra Angelico, circa 1440. But how plausible is this portrayal, from a historical, textual and theological perspective? As the blurb on the Malthouse Theatre website puts it (the play will run there in November): “This Mary is unrecognisable from the meek, obedient woman of scripture, painting and sculpture”. The play and the book it is based on have been much acclaimed for bravely challenging traditional beliefs about Mary. Ultimately, she rejects her Jewish faith and the idea that Jesus was the Son of God. She struggles with the trauma of losing her son to what she sees as religious fanaticism. Though looked after by these disciples, Tóibín’s Mary distrusts them and resists their efforts to twist her story to suit their agendas. Tóibín claims that Mary’s “real” story was repressed by the early disciples of Jesus.

He undertakes an interesting literary experiment – though underlying this, his novella is littered with historical and theological claims that draw heavily on Christian literature. Toibin’s is a moving portrait of a woman grieving her son’s death, with a distinctly modern feel. The play has toured globally and is now having its Australian premiere at the Sydney Theatre Company with Alison Whyte in the role of Mary. Colm Tóibín’s play and Booker-nominated novella The Testament of Mary aims to “demythologise” the story of Mary (the mother of Jesus).

Colm toibin the testament of mary