The Sabat Mater is a 13th century prayer attributed to Jacopone da Todi. Tarantino has borrowed the name, the figure of the Mother and the theme of suffering.  The writer has decided to render topical the epic figure of the Mother of Christ, to transfer her to the shores of reality and a present time. Tarantino’s Mother is a prostitute and single mother. The father of that child that she awaits is married to another woman. The son that was created, on which great hope is placed, has been arrested as a terrorist. Other characters enter the stage: Ms. Trabucco, a social worker, Don Aldo a priest and a man, still subject to hopelessly humane relations (a sacred-profane dycotomy), Dr Ponzio (Pontious Pilate), who is responsible for the son’s arrest, and Dr Caraffa (Caiaphas), who imprisons and condemns the son. An oratory for a solo voice, reads the subtitle of the piece: it is the Mother alone on stage, yearning for news both of her son and of the dissolute and treacherous figure of the father.  On the stage, Maria Paiato, the protagonist of a number of legendary stagings by Luca Ronconi at the Piccolo Teatro, including Celestina and Santa Giovanna dei Macelli. Tarantino’s Sabat Mater blends Italian with dialect and slang, transforming it into the language of the rejects, the underprivileged. The figure of the Mother however, faced with misery and degradation, reigns and is victorious. As much as she suffers, lying beneath a Crucifix immersed in the suburbs, she overcomes all losses, even that of her own dignity. The piece by Antonio Tarantino has been constructed around a language which is both full of slang and, at the same time, studied. His stories are inspired at times by the classics and religion, at times by politics, but they are always very ethical.