by Millie Deere
Nacho Cano’s musical Malinche has returned to Mexico City for its second season, attracting large audiences while reigniting controversy over its portrayal of the Spanish conquest and the Indigenous woman at the center of its story.
The production, which reopened Aug. 15 at El Frontón theater, features more than 80 performers combining flamenco, hip-hop and contemporary dance. After a successful run in Madrid, the musical premiered in Mexico in March 2025.
Its central character, Malintzin, also known as Doña Marina or Malinche, was an Indigenous woman who served as interpreter for Spanish conquistador Hernán Cortés. Their relationship produced a son, making her an important historical figure in discussions about Mexico’s mixed Indigenous and European heritage.
However, her legacy remains disputed. Traditional nationalist interpretations have portrayed Malinche as a traitor who assisted the Spanish conquest. Feminist and postcolonial scholars instead emphasize her enslavement, limited autonomy and struggle for survival.
Cano presents a different interpretation, portraying Malinche and Cortés through a romantic narrative that celebrates the emergence of Mexico’s mixed cultural identity. Critics argue this approach minimizes the violence, exploitation and suffering experienced by Indigenous populations during colonization.
The controversy extends beyond the stage.
Cano, formerly a member of the successful Spanish pop group Mecano, maintains close ties with Isabel Díaz Ayuso, the conservative president of Madrid’s regional government. Both have defended aspects of Spain’s historical legacy in the Americas.
Mexican President Claudia Sheinbaum has challenged interpretations portraying the conquest as a civilizing mission, reflecting longstanding disagreements between Mexico and Spain over colonial history.
The musical also enjoys substantial corporate support. Mexican businessman Ricardo Salinas Pliego helped bring the production to Mexico, while his wife, María Laura Medina de Salinas, served as executive producer. Banco Azteca, part of the family’s business conglomerate, sponsors the show.
Historian Juan Miguel Zunzunegui, who challenges negative interpretations of Spanish colonial history, also participates in the production.
Opposition comes from different ideological directions. Some left-wing critics accuse the musical of romanticizing colonial domination and overlooking Indigenous suffering. Certain conservative commentators, meanwhile, argue that it insufficiently celebrates Spain’s historical and religious contributions.
Beyond its elaborate choreography and commercial success, Malinche raises enduring questions about historical memory, cultural identity and who determines how Mexico’s colonial past is represented.
With performances scheduled through January 2027, the musical continues attracting audiences while generating debate over whether its romantic interpretation adequately acknowledges the complexities of conquest. Mexico Desconocido.
– This article was edited and condensed for space.
