Review: Madonna / Whore

The first to disappear in any murder story is the person who has suffered fatal harm. They are reduced to an ethnically defined, gendered, life-styled archetype with a number pertaining to their age stamped on their forehead. Oh, and they are always warm, generous and friendly. To a fault. Which is perhaps the fault that finally denudes them of any real personality and renders them unseen. Woe betide anyone that says “Aye Jim, could be a carnaptious so-and so from time to time” or “Jacky could be obstreperous when the mood took her”. It would add flawed human flesh to those perfect bones.

Madonna / Whore by Julie Calderwood scratches at that masculine culture which underpins the ‘whodunit’ oeuvre and its variants: ‘whydunit’ and ‘howcatchem’. At the centre is ‘legend’ Hugo (Gregory Bonnar), a criminal profiler cum investigative interviewer who is coasting on his status. He is summoned by Grace (Sarah Pieraccini) to conduct an interview with erstwhile, religious activist Thomas (James Keenan): a notorious murderer who has been incarcerated in a Glasgow prison for 25 years. Thomas’ victims all shared similar traits. Alibies and other lies… but did he really kill Margaret? Grace has one day of shooting to find out since Hugo wants to exit pronto. There’s golf to be played and whatever else London has to offer. He doesn’t want to be in Scotland. And, Glasgow of all places! He’ll coast through the day. Autopilot. Thomas, on the other hand, seizes an opportunity to set the record straight before his daughter’s wedding day. When Hugo finally meets Thomas, he recognises him to be one of those men who categorise women as madonnas or whores; as virtuous or sexually desirable. Grace recognises this too but being the only woman here, she is aware that she too may be objectified and is therefore exposing herself to danger.

It is interesting to note that the whore in the title can also refer to Hugo - the criminal investigator who can be bought so long as the price is right and the criminal has sufficient levels of fame. These themes are cleverly played out under Calderwood’s direction. The characters are compelling. Keenan imbues Thomas with the traits of a velociraptor eyeing its prey. Bonnar’s lugubrious, world-weary Hugo accurately conveys someone who has seen it all and is able to monetise it. However, it is Grace whom the audience actively root for. Pieraccini’s laser-focussed performance captures precisely the balance between determined professionalism and naked vulnerability, abundantly aware that she is in peril in either man’s company. The tension within the audience during these scenes is palpable. The stage design serves the play well even if the screens are on the small side to effectively relay electronic communications.

Madonna / Whore excels at making the victims seen. We see the human loss…the incomplete lives arising from nothing more than coincidence. In this imperfect world, agency is everything.  

Madonna / Whore continues its run to 12th July at Theatre 118, Glasgow.