This two hander begins with both actresses acting out a dumb show to a music track. One is clearly a vicar, but until the dialogue begins we’re not sure of the relationship between the two. Eventually it becomes clear they are mother and daughter, and the daughter is a prostitute with a young baby.

Set in Edinburgh, it takes a while to get going. In fact there isn’t dialogue in the true sense of the word, as what we have here are two intercut monologues, which seem to be happening in different time zones. The bulk of the exposition goes to the young prostitute (there was no program so I’m unable to name check anyone) and her story of how her parents, both ministers, screwed her up is interesting. She also offers enlightening glimpses of how anyone, even a child of the manse, can realise the power of being sexually alluring, and the financial implications of that. At fifteen she was letting boys feel her tits for a quid at the local ice rink. What we get from this character is an eloquent argument about how recent legislation has endangered rather than helped sex workers.

The mother’s story is slightly less powerful, though through her we realise the pun in the title. As a minister she has a very different love to “sell” than her daughter. Still, as things progress and we piece together how their lives relate to each other the tale gets progressively more disturbing. To give away the plot would be unfair, but suffice is to say it gets increasingly macabre. The director, however, doesn’t pace the thing exactly right, and two big potentially shocking revelations go off with a whimper rather than a bang.

The last ten minutes when the girl relates how the she extracted revenge on a punter are unbelievable. Both actresses are very truthful and competent but they just seemed a bit underpowered in what is potentially a much darker, chilling story. We are left with a ray of hope for both these characters in the play’s final gesture, but much of what has happen to them is so unbearably savage it’s hard to believe it won’t flicker and die.

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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The Blurb

A tragicomic play about a clash between two of the world's oldest professions. A world premiere of an all Scottish production that contains strong adult material.

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