If a novelist twists historical facts to fit a plot, we can accept it as poetic license. When Dan Brown has the dashing “symbologist” Robert Langdon race to the American Embassy in the wrong part of Paris, we might shrug and say it’s a mistake but The Da Vinci Code is a thriller anyway. But what should we say when a major theatre production mixes fact and fiction in the life of the late Pope John Paul II so much that it misrepresents history? Is that just a little white lie? Or maybe something more?