Scottish Ballet ‘Mary, Queen of Scots’ Review
Written by Kerry McLaughlin for Theatre & Tonic
Mary Stewart was crowned Queen of Scotland in September 1543. Growing up in Stirling, Mary’s story was a significant chunk of school history classes. Even so far as receiving my star pupil award for attending the opening of the refurbishments to the castle, reinstating it to its 16th-century glory. So when Scottish Ballet announced the world premiere of a new piece about Mary, I leapt at the chance to book a ticket.
Elizabeth I is dying. On her last day of life, she begins to think of her cousin, Mary Stewart, the woman she wished to be sisters with but became enemies, both vying for the English crown. Framing the piece through Elizabeth’s fading memory adds nuance; we still experience the story, but there is a perspective on it that tries to control how the audience views Mary, especially when imprisoned. The story itself took some time to understand. If you don’t know much about Mary, there is little to go on from the beginning; however, the more the piece continues, you get brought into the modernised Tudor-style world. Some research, or even a read of the synopsis provided by Scottish Ballet when entering the theatre, gives substantial clarification, giving the viewer the understanding to enjoy the show extensively more. In most creative formats of Mary’s life, Elizabeth always features as a main character. Personally, I would have liked to have seen this piece take a different approach and focus more on Mary’s younger life. However, this would have led to no conflict and therefore a much duller piece.
The costumes, designed by Soutra Gilmour, heighten the sense of regal duel between the Queens. The black and white outfits acted almost as chess pieces, a visual game of strategy. Elizabeth in her virgin white and Mary in velvet black. Two queens, both in charge but still pawns in the game, are being taken advantage of at each turn whilst still preceding with dignity and superiority. This develops into the use of stilts by Young Elizabeth, which makes an impactful yet fleeting appearance. Hovering over her older self, the decisions she made in years gone by continue to control her life. What the production focuses on in costumes, it minimises in props. A white balloon symbolises Mary’s son James as a child, pushing Elizabeth deeper into her memories, stealing a balloon for herself, and imagining what it would be like to be a mother. A three-walled moveable set with two doors on either side creates a unique use of shadows. Bright lights shine through the doors, the shadows of the past still haunting Elizabeth, her fleeting memories deceiving her, portraying Mary as a spider, eating her husband Darnley, killing him.
A scene-stealer at every appearance, the Jester character, portrayed by Kayla-Maree Tarantolo, gives an almost Leading Player from Pippin feel to the piece, a chaotic being that aids in the misfortune of the characters whilst providing few and far between comedic moments, giving the audience a moment to breathe within the tension. Charlotta Öfverholm and Harvey Littlefield share the role of Elizabeth with seamless ease, gliding through scenes whilst never overstepping on each other’s performance but instead somehow enhancing it. But the standout of the show is Mary herself, encapsulated by Principal Rosenna Leney, who portrays the Queen with grace and dignity, never overexaggerating, which can be so easily done within the ballet format. The four Marys following her not just as their leader or Queen, but as their sister.
Mary, Queen of Scots, whilst not bringing anything new to the story of the Scottish legacy, uses all its elements to create a symbolic piece that pulls its audience into the harsh reality of the race to the crown, never letting go for one second. A tragedy from all perspectives framed in a haunting intimacy and visual poetry that will not doubt continue to flourish as its run progresses.
Mary,Queen of Scots plays the Theatre Royal, Glasgow until 20 September before embarking on a tour to Iverness, Aberdeen and Edinburgh.
★★★★
