This filthy, Freudian, feminist odyssey is some of the most fun you’ll have at the Fringe. In Madonna/Whore, Selena Mersey takes you on a musical journey involving breasts, burlesque, Freud’s beard, and TikTok’s bullshit feminism. Mersey’s immense charm lets her get away with being seductive, silly and incredibly smart without leaving the audience confused. She delves into the nuances of modern relationships with a fresh perspective, working through her guilt of being a bad feminist. Her take on the Madonna/Whore complex will leave you reflecting on the intricacies of modern identity and relationships, even as she moves on to her next burlesque sequence. 

Some performers revel in making the audience uncomfortable. Mersey, on the other hand, is skilful in making the uncomfortable extremely comforting. Changing outfits in full view of the audience, there isn’t a moment that it feels awkward or embarrassing. Instead, Mersey uses every opportunity to infuse a little more comedy and a little more meaning into her show. Probably one of the boldest performances at the Fringe, Madonna/Whore delivers a vibrant experience that challenges conventions with masterful subtlety, never failing to provide a steady stream of entertainment.

This review was originally written in 2024 for the Edinburgh Fringe Festival; Selena Mersey: Madonna/Whore will be performed at The Courtyard Of Curiosities from Thursday 20-Sunday 23 February, 9.10pm; main picture: deadplantzfilmandphotography.