The late fifteenth-century Digby Mary Magdalene play assembles together, over more than 2,100 lines, many features of Magdalenian lives so as to become a form of anthology of all of Mary Magdalene's pre-existing “storylines,” with an addition of traditional dramatic features taken from morality plays. In the Digby play, the Magdalene is flanked by her two siblings, Lazarus and Mary of Bethany. Her rich father, Cyrus, dies and leaves the castle of Magdala to his daughter. She is then tempted into sin by Lechery, with the help of Curiosity in quite a comic tavern scene, only to repent at Christ's feet when the latter rids her of seven devils. Other traditional and less traditional episodes follow suit: the raising of Lazarus, the scene at the sepulchre on Easter Sunday (a conflation of Jn 20, Mk 16, and Matt. 28), the sea journey to Marseilles complete with a comical duo of sailor and boy, another comedic passage staging a pagan priest and his attendant, the Magdalene's preaching and conversion of the Marseilles couple, her help in making the queen pregnant and in saving her when abandoned on an island, the king's time in Rome with Peter, and finally the Marseilles couple's eventual return. The Magdalene then leaves for the wilderness, where she is fed by angels several times a day and dies after having been given the last rites by a priest sent by Christ for this purpose.

In the same way that the play is a melting-pot of all biblical and legendary accounts of the Magdalene, it also rehearses and brings together many features of the late medieval holy harlot teased out in the last two chapters. Most importantly among these is the representation of femininity as at once hierarchically lower and higher than masculinity, rather than being equal to it. Performing femininity leads to the worst sins, but is also at the root of the highest heavenly reward. The Digby play in addition stages the universality of the holy harlot model to represent Everyman. The author offers up the repentant prostitute and her particular brand of feminine performance as the model to imitate in order to reach salvation.