Writer: Rebecca Sharp
Director: Rebecca Sharp
Original Score: Alex South
Costume Design: Jessica Brettle
Maiden Mother Mage is a site specific (in this case the majestic and imposing surroundings of Glasgow 12th Century Cathedral) work, bringing the story of the mother of Mungo (or Kentigern) Glasgow’s founding father and patron saint.
Often, if not almost entirely overlooked, Thaney or Teneu or more familiarly St Enoch, finally finds herself at the centre of writer Rebecca Sharp’s story. Three actors portray her at various stages in her life: Israela Efomi is the maiden, Taylor Dyson mother and Heather Cochrane Mage.
While no one can say with any particular veracity what the story of 6th Century Brittonic Princess Thaney is, she is a myth, a legend passed down from generation to generation, generally regarded as “Scotland’s first recorded rape victim, battered woman and unmarried mother”. The daughter of King Lot, born in what is now Lothian. At the age of seventeen Thaney is raped and as punishment is thrown from the summit of Traprain Law. Surviving this, she is cast into the Firth of Forth in an oarless boat. The ultimate survivor, she washes ashore at Culross, here she meets St. Serf who offers her shelter and where she gives birth to her son Kentigern/Mungo. Thaney eventually becoming Saint Teneu, Protector of the Abused.
We are invited on arrival, to place a shell in a circle at the centre of the performance space, feeling like paying homage and giving offering to this woman, without whom we would not have the magnificent city in which we live. Each actor enacts their chapter in Thaney’s life set to an original score by Alex South. The setting of the piece in the jaw-dropping surroundings of this, almost a thousand year old building, adds to the atmosphere. While the work has a hypnotic quality, what it does not do with clarity is tell Thaney’s story. This is not a well known legend and without prior knowledge of it, Sharp’s work is often impenetrable. Each actor does a fine job of breathing life and emotion into the words, but the often esoteric nature of the script feels like an opportunity missed to truly tell the tale of this overlooked, voiceless woman.
In tandem with the performance are exhibitions of creative writing and visual arts from community groups in key locations in Thaney’s life: P7 girls from North Berwick, Ukranian women from Dalgetty Bay and Kurdish women from Glasgow. Their work, reflective of the plays themes of refuge and resilience are displayed alongside new iconography for Thaney by artist Frances Law.
Image: David Wardle