The Lourdes Musical: Propagating Modernist Distortions Under Guise of Piety
EWTN News (February 2, 2026) reports on the U.S. debut of “Bernadette, The Musical,” which dramatizes the alleged Marian apparitions to Bernadette Soubirous in 1858 Lourdes, France. The production, having toured Europe, will be performed in Chicago before visiting 11 other states. Producer Pierre Ferragu claims the musical presents “historic facts” while inviting audiences to decide whether Bernadette “lied” or “told the truth” about her visions. This theatrical spectacle epitomizes the post-conciliar sect’s reduction of supernatural faith to emotional entertainment.
Naturalizing the Supernatural: A Betrayal of Catholic Revelation
The musical’s premise fundamentally violates the Church’s teaching on private revelation. Pius X condemned the notion that “divine revelation is imperfect, and therefore subject to a continual and indefinite progress” (Syllabus of Errors, Proposition 5). By framing Bernadette’s claims as open to personal interpretation—”What do I take from it? Did she lie? Did she tell the truth?” (Ferragu)—the production treats divine communication as a subjective psychological phenomenon rather than a supernatural event subject to ecclesiastical judgment.
The 1917 Code of Canon Law (Canon 1399) explicitly forbade theatrical performances treating sacred matters without express ecclesiastical approval. This musical lacks any such approval from legitimate pre-1958 authorities, being instead a commercial venture of the conciliar sect. As Pius XI taught: “Christ reigns in the minds of men… because He Himself is Truth” (Quas Primas). Entertainment that relativizes truth denies Christ’s kingship over intellects.
Historical Omissions and Theological Subterfuge
Critical facts omitted from the musical’s “historic facts” narrative expose its modernist agenda:
Bernadette faced pressure from adults, police, religious authorities — even her own parents — with faith and courage.
This heroic portrayal ignores how then-Bishop Laurence of Tarbes subjected Bernadette to four years of rigorous canonical investigation before conditionally approving the apparitions in 1862. The modern spectacle reduces ecclesiastical discernment to “doubt, ridicule, and condemnation,” implying the Church obstructs divine communication rather than safeguarding it from deception (2 Cor 11:14).
Moreover, the musical’s focus on Bernadette’s “beautiful attitude of faith” replaces doctrinal substance with emotional affectivity—a hallmark of Modernism condemned by St. Pius X: “Faith… is ultimately based on a sum of probabilities” (Lamentabili Sane, Proposition 25). True Catholic faith rests on the authority of God revealing, not personal sentiment.
EWTN’s Role in Conciliar Apostasy
EWTN’s promotion of this production illustrates its integration into the anti-church’s machinery. Founded by a nun who abandoned her vows (Mother Angelica), this network consistently platforms theological errors while masquerading as “Catholic.” Its coverage exemplifies the “false irenicism” John XXIII initiated at Vatican II—treating heresy as legitimate “dialogue.” As Pius IX decreed: “Catholics may approve of the system of educating youth unconnected with Catholic faith” is an error (Syllabus, Proposition 48). EWTN commits this error by celebrating a musical that invites non-believers to judge divine revelation.
Masonic Roots of Apparition Culture
The theatrical exploitation of Lourdes follows the pattern of Masonic operations like Fatima (1717-1917-2017 ritual cycles). Bernadette’s visions occurred in 1858—the year Freemasonry orchestrated Italy’s unification against the Papal States. By distracting Catholics with apparitions while dismantling Christ’s temporal reign, secret societies advance their anti-Church agenda. Pius IX’s 1864 Syllabus (Proposition 77) condemned the idea that “the Catholic religion should no longer be held as the only religion of the State“—precisely the pluralistic worldview this musical promotes by making Bernadette’s message palatable to “people who are not religious at all.”
Conclusion: Rejecting Emotionalist Counterfeits
True devotion to Our Lady requires adherence to her authentic messages: repentance, rosary recitation, and defense of papal authority—all abandoned by the conciliar sect. As the Third Secret of (false) Fatima warned, apostasy begins at the top. This musical exemplifies the desacralized “cult of man” Paul VI instituted, replacing the Lex Orandi with anthropocentric spectacle. Faithful Catholics must reject such productions and cleave to the Missale Romanum of Pius V—the true locus where Mary’s intercession empowers the Church Militant.
Source:
‘Bernadette, The Musical’ brings inspiring story of Marian visionary to the U.S. (ewtnnews.com)
Date: 02.02.2026