The Maltese theatre production “They Blew Her Up”, about the life and tragic fate of journalist Daphne Caruana Galizia, will be performed on February 28 in the Gorgona Hall of the Museum of Contemporary Art in Zagreb as part of the Voices festival.
Daphne Caruana Galizia was killed on October 16, 2017, in Malta. An explosive device placed in her car took her life, shocking Malta and the international community with the brutality of the crime. Throughout her career, Daphne tirelessly exposed corruption and crime connected to the political elite, and she is primarily known for her work on the Panama Papers.
Unfortunately, justice for Daphne has not yet been served. Yorgen Fenech, a wealthy Maltese entrepreneur and the alleged mastermind behind her murder, was released from prison due to prolonged delays in the case, as the judge could not justify his detention without pressing charges. This case once again draws attention to the serious problem of impunity in Malta.
The play “They Blew Her Up” sheds light on Daphne’s story and emphasises the importance of independent journalism. The play’s author, Herman Grech, writer and editor-in-chief of the Times of Malta, spoke with key individuals involved in the case to get to the heart of this dramatic event. The result is a powerful and moving work of fiction based on actual court proceedings and interviews. Herman Grech is also coming to Zagreb and will participate in the panel “Media Regulation in the EU and How It (Tragically) Began,” where he will discuss the critical moment of Daphne Caruana Galizia’s murder, after which the European Union initiated legislative efforts against strategic lawsuits against public participation (SLAPP).
Admission to the play on Friday at 7:30 PM is free, and the performance not only promotes the Voices festival but also reminds us of the broader struggle for truth, justice, and media freedom. Now, more than ever, raising awareness about impunity and protecting brave voices like Daphne’s is essential. Ahead of his arrival in Zagreb, we spoke with Herman Grech.
How did you decide to tell Daphne Caruana Galizia’s story through theatre?
I’ve been a journalist for 28 years and somewhat involved in theatre for 35 years. Both are powerful truth-telling mediums. Complex real-life stories need a captive audience free from distractions, and theatre provides that space. The idea for the play They Blew Her Up play was conceived in the newsroom around 2 AM in November 2019, as I waited for the outcome of a high-stakes government cabinet meeting to discuss the fallout of Daphne’s murder probe. It felt like House of Cards unfolding in real life, as we confirmed that Daphne’s murder was tied to people at the very heart of government. I thought to myself, ‘This is a playwriting itself.’
What was the process of researching and working on the play like, given that it deals with such a sensitive and tragic subject? Did you collaborate with her colleagues, family, or activists?
The play draws from firsthand interviews I conducted with those directly involved in the story—investigators, journalists, and even Daphne’s son – alongside the powerful drama of court testimony. I investigated the story myself, fully aware of the immense sensitivity of the subject, ensuring that every detail was handled with care and accuracy. I confess there were several rewrites of the script, but I was lucky to land five of Malta’s finest actors to play the characters.
How did you choose to portray Daphne Caruana Galizia on stage—as a journalist, mother, individual? What legacy of hers does the play aim to convey to the audience?
Daphne was a deeply divisive figure in my country. Her razor-sharp pen was a powerful tool against corruption and her critics, but also a weapon that, at times, inflicted unnecessary wounds. I had my own disagreements with her, and in the play, the journalist character is not sympathetic toward her. While the story offers a humanised glimpse of Daphne through her son, the play is ultimately about something larger – the devastating consequences of a system that betrays one of its own. It exposes the toxic entanglement of big business and politics and challenges the audience to consider the true cost of speaking truth to power.
How difficult, yet essential, is it to address political corruption, media freedom, and the murder of a journalist through a theatrical format? What were the biggest challenges in that process?
Striking the right balance was a real challenge. I firmly believe journalism should be a vehicle for the common good, but I also understand the immense pressures that come with it. Theatre allows us to go beyond the headlines – to confront the raw human emotions, moral dilemmas, and personal costs that journalism alone cannot always capture. The hardest part was weaving together the narratives from my interviews into a production that felt compelling rather than didactic. But with the help of powerful real-life anecdotes, striking visuals, and fine acting, I believe we’ve done justice to one of the most horrific stories I’ve ever reported on.
How have audiences in other cities reacted to the play? Have you had the chance to speak with people who knew Daphne or were affected by what happened?
The reactions to the play have been overwhelmingly powerful. Every country faces political challenges and threats to free speech, making Daphne’s story universally relevant. Her assassination and its fallout are complex, but many audience members have told me they finally understand what really happened – because of the play. That’s the power of theatre. Many of Daphne’s friends, and even her family, have watched the play. When her son watched the dress rehearsal when we first staged it in 2021, I admit I felt very uneasy since the play doesn’t portray Daphne in a one-dimensional light. But afterwards, with tears in his eyes, her son met me backstage and urged me to take the play overseas.
Considering the global context, how dangerous is it today to be an investigative journalist? Do you think awareness of the importance of independent journalism has increased after her death?
I don’t think investigative journalism has ever been more dangerous – at least in my generation. The rise of misinformation and disinformation, amplified by figures like Donald Trump and Elon Musk, has made truth itself a battleground. The consequences of this erosion of trust in journalism will only get worse. Daphne’s assassination was a wake-up call. But collective memory is short, and journalism is again under siege. The fight for truth and, dare I say – common decency – is more urgent than ever.
The play carries a powerful political and social message. What would you like the audience to take away after watching it? Is there a key thought or feeling you hope to leave with the viewers?
Wherever we’ve staged the play, from Italy to Austria to Cyprus – the reactions have been different. But what struck me most was how certain monologues resonated uniquely with each audience, reflecting their own issues with press freedom and corruption. If there’s one message I hope people take away, it’s this: criminals sleep much easier when journalists aren’t there to hold them accountable. We cannot allow that to happen.
What does it personally mean to you to perform this play in Zagreb? Is there a universal message from the play that you want to share with the Croatian audience?
Harassment, intimidation, and online trolling are universal threats that journalists everywhere face, including in Croatia. A number of media outlets are controlled or influenced by political and business elites, compromising press freedom and fuelling biased reporting. Instead of ignoring the elephant in the room, we must confront these issues head-on. Croatian journalists have endured their own attacks, including the 2008 car bomb assassination of two reporters – an eerily similar fate to Daphne’s. Nearly two decades later, the world has only become more dangerous for journalists.
