
by Sam Juliano
The dramatic fireworks that have always informed the tempestuous relationship between Elizabeth I and Mary, Queen of Scots has always fascinated biographers, historians and filmmakers, yet the proper venue for the high-stakes power games between the royal cousins is the stage. After an absense of 40 years, Frederick Schiller’s Mary Stuart has been revived, in a dramatically exquisite production that showcases two of Britain’s finest actresses, Janet McTeer and Harriet Walter. Mc Teer won a Tony Award in 1997 for her compelling performance as Nora in Ibsen’s A Doll House, while Ms. Walter is an acclaimed Shakespearean.
The new version of the play by Peter Oswald and directed by PyllindaLloyd is an examination of entrapment, which in literal terms informed Schiller’s interpretation of the imprisonment of the Tutor monarch Elizabeth, who for a period of four years was incarcerated in the Tower of London, before her triumphant return to cheering throngs to become Queen of England. Once in power, Elizabeth was assailed as “illegitimate” by Mary, who her herself is imprisoned. Her nurse Hanna declares emphatically that she’s “bricked up alive.” The question of course as to who will survive in this scintillating battle of the wills is easily answered by a cursory look back at history, where both woman are revealed as intelligent, savvy and politically adroit, but where one uses her new-found power and popularity to expectedly prevail. Yet, even though the emotional and fiery Catholic Mary is far different in this sense than the icy Protestant Elizabeth, both are reliant on the support of the masses, who could change on a dime, and both were raised on a public stage, and know what it takes to remain in favor.
The play opens at the point where Mary has been a long-standing prisoner of the British crown. The political maneuverings as history tells us are done without any meetings between the two, but Schiller’s play, like the film version Mary Queen of Scots cannot deprive the audience of such an electrifying dramatic moment, and in the production’s piece de resistance the two meet in a rain scene that may well be the theatre season’s most extraordinary single scene. A simulated rain, apparently negotiated by stage ceiling sprinkler’s and water traps, as well as superb sound effects that create thunder sets the stage for an atmospheric rendezvous, where Mary gets soaked and Elizabeth, true to her demeanor remains dry. Yet the scene is notable for its especially enthralling cross-fire, which regardness of historical inaccuracy, was the one moment that clearly delineated the disparate styles of the two erstwhile heroines.
History has both condemned and exonerated Elizabeth for her complicity in Mary’s eventual demise, claiming alternately that she knew she needed to extinguish the wildly-popular competitor, yet she steadfastly resisted for a long time signing the death warrant. The unanswered question has to do with Elizabeth’s humanity and whether it was solely fused by political aims. Hence throughout the play Elizabeth suffers a Hamlet-like quandary on whether or not to act, and therein is the essence of the conflict and of the various machinations that fueled the drama. The play shifts from the royal court to the Fotheringhay Castle prison, where the questions of edict and fate are wrestled with in the court of male figues who are motivated by selfishness, sexual interests and political advancement. The staging is wisely minimalist, and the look is stark, which of course informs the urgency of the subject and the inevitable denouement, that we know from history, even if this production balks on presenting that tragic ending for Mary.

Bob with Janet McTeer
In addition to the two stars, Benjamin Hickey gives an uncompromising turn as the Earl of Leicester, Maria Tucci is affecting as Mary’s maid, and Robert Stanton is a mountain of naivete as a courtier. Anthony Ward’s costumes, includemen in dark suits and the women wearing the resplendent costumes of the day, with Elizabeth’s gold serving as both a reminder of her regality and a contrast to the lower class citizens she controls. Hugh Vanstone’s lighting is central to the experience as it accentuates the alternating rhetorical salvos fired from the opposing camps.
Mary Stuart reminds me of the delicious but potentially lethal verbal banter that informed Anthony Schaffer’s Sleuth, where two actors played a dangerous game, a war of wills, where one sidewas doomed to defeat. The knowledge that one sidemust lose seems unfair but the way there is is fully enrapturing, especially with performers like McTeer and Walter.
Note: I saw “Mary Stuart” on Thursday, June 4th with Lucille and Broadway Bob at the Broadhurst Theatre at 8:00 P.M. We had a snack at the Mercury Lounge before the nearly three-hour production. Bob hit the jackpot afterwards with autographs from several including the extremely affable two British superstars.
Definitely strong material for a stage play, even if it meant taking liberties with historical accounts. I have heard McTeer was fantastic, and the rain scene is the one that has been mentioned in all the reviews. Sam, this is great work here.
I must say that this has always fascinated me, and practically all history buffs. Elizabeth’s indecision makes for compelling drama. I greatly admired the British ‘Elizabeth’ with Helen Mirren as the Queen. What a terrific review again. Looks like I better get tickets ASAP.
Beautifully descriptive review Sam. I love the film “Mary Queen of Scots” which also take liberties with what really happened. That one was quite gorgeous to watch. But nothing can beat the stage.
Thanks everyone.
The general thrust here is irrefutable. Drama is indeed the place for this.
Hi! Sam Juliano and WitD readers,
Wow! Nice review of a play (and characters) that I’ am familiar with only through the 1936 film Mary, Queen of Scot, starring actresses Katherine Hepburn and Florence Eldridge portraying the royal cousins. (Which of course my mère, introduced me to…
….My mère,introduced me to the 1936 film Mary Queen of Scot, and not actress Florence Eldridge. Yikes!) 🙂
(Because actress Katherine Hepburn is her favorite actress, but of course! and I must admit that I’ am not familiar with actress Florence Eldridge.)
By the way, that piece de resistance does sound extraordinary. From your description, I can just imagine that scene in my mind eye!…
…In addition, what a nice photograph of Broadway Bob and British actress Janet McTeer, but most importantly, I noticed in Broadway Bob’s hand his playbill…which has been autograph by the cast! Wow!
Thanks, for sharing! Sam Juliano,
DeeDee 😉
Great stuff as always Sam. I am unfamiliar with this Schiller work.
On another note have you seen Stoppard’s Invention of Love or his Coast of Utopia trilogy? I have great admiration for both though I have regrettably not seen these in the theater. Wondered if you had..
OK, Sam, let’s set the record straight. We saw MARY STUART on Saturday night, June 6th…Thursday the 4th you and I saw a wonderful little play entitled AMERICAN HWANGAP to which I (and probably ur readers) are STILL waiting for the review. As for MARY STUART, although the play was extremely enjoyable the highlight for me was meeting and chatting with EVERY cast member, including McTeer, Walter, Maria Tucci and Brian Murray.
Dee Dee: My dear friend you have left a fantastic comment here in every way possible! Yes that Katherine Herburn version you mention is somewhat of a classic, and Kate is always a treasure in anything. Your mother has very good taste by having Katherine as her favorite actress! Yes, indeed, I know you are envisioning that centerpiece “rain” scene, and it’s very visual, with excellent lighting and sets. And Broadway Bob does get all his playbills signed, he really has become adroit at this at each and every show. He really has some collection there. But of course it could mean a 30 to 45 minute wait at the end of every show.
Kaleem, alas I have not, though I am most familiar with ROSENCRANTZ AND GUILDENSTERN ARE DEAD. I would hav elove dparticularly to see the COAST TRILOGY, but I believe Broadway Bob has. Thanks very much for the kind words.
Bob: I am working on that review right now as I write this! Ha! Yep, that pose with McTeer was priceless!
I rate the movie Mary Queen of Scots highly, so I would conclude that this would be much to my liking. But I bet tickets are high.
Sam, I found another interesting review, but that’s not to say yours isn’t excellent. (it is) But as a supplement here’s another positive perspective:
NEW YORK—At last we are in for a piece of shining, highly theatrical theater! Mary Stuart has arrived, and its two glowing stars, Janet McTeer and Harriet Walter, direct from London’s noted Donmar Warehouse and London’s West End, are joined here by 11 supporting actors.
Originally written by Friedrich Schiller, this new version by Peter Oswald is fluid and easy, not at all smacking of the stilted “classic” tone. One is immediately swept up by the vivid rivalry between two major historical figures, Mary, Queen of Scots, cousin of Elizabeth I, Queen of England.
At play’s beginning, set in 1587, Mary, a Catholic, has been under house arrest in England for the past 19 years. Although England has been Protestant for nearly 30 years, the Protestant Elizabeth fears Mary, for Elizabeth knows that Mary has a strong claim to England’s throne and that there are Catholic plots afoot to wrest the crown from Elizabeth.
Furthermore, although Mary appears to be safely ensconced in Fotheringhay Castle, perhaps she is not as vulnerable as she appears. Known to be resourceful, she once had had her former husband murdered, and then married his murderer.
ELIZABETH: Harriet Walter in ‘Mary Stuart’ (Joan Marcus)
MARY: Janet McTeer in the Broadhurst Theatre production of ‘Mary Stuart’ (Joan Marcus)
STILL RELEVANT: Harriet Walter as Queen Elizabeth supported by her court in modern dress. (Joan Marcus)
Political power games rule the day. Elizabeth is surrounded by advisors, some of whom advise immediate execution of Mary, others who are more conservative in their approach. The markedly aggressive Lord Burleigh (Nicholas Woodeson) insists that Mary is an imminent threat, while the Earl of Shrewsbury (Brian Murray) takes a more passive stance. He feels that Mary may prove more dangerous dead than alive, for she may then become a martyr to the Catholic cause.
The attractive and seductive Earl of Leicester (John Benjamin Hickey) plays both ends against the middle, first taking one side, then the other. At first joining a plot to assassinate Elizabeth, he smoothly switches allegiance, just narrowly escaping discovery.
Queen Elizabeth listens to all opinions carefully and calmly, appearing to be unmoved by either camp.
But Mary Stuart is first and foremost a play about the two queens, major players on the world stage in their time. And they are portrayed by actresses who are more than up to the task. Janet McTeer’s Mary is passionate and outspoken. Harriet Walter’s Elizabeth is cold and steely and shrewd, only once losing her composure.
That once is in the famous encounter scene, a scene between the two women that did not actually take place in history, but is a clever theatrical invention by playwright Schiller.
Mary has long pleaded for a meeting. For a long time it is refused, then one of the advisors successfully arranges it.
When the two finally speak, sparks are struck. Mary pleads for her life, repeatedly referring to Elizabeth as “Sister.” When the encounter goes sour, Elizabeth turns cold and flees, dropping her power mask for the first and only time.
Still, she hesitates to sign Mary’s death warrant. How the order eventually comes about is a remarkable show of indecision and hypocrisy, and indicates how the powerful may abdicate responsibility and yet remain untouched.
This connects powerfully with our own times. Indeed, one of the appeals of this play is its timelessness and universality.
The intense McTeer and Walter hold stage with great authority, aided by Director Phyllida Lloyd’s daring design concept, which is to have the women wear elegant period gowns while the men are attired in contemporary dark business suits. An interview piece noted that that choice came out of a limited budget at the Donmar. Whatever the reason, it works well. The women stand out—they are the queen bees, the stars, in every way.
Director Lloyd, arguably best known for her direction of the musical Mamma Mia!, is noted in London for her numerous classical and contemporary productions. In fact, I saw her impressive production of “Hysteria” in London’s Royal Court Theatre some years ago.
Although the entire company works as a tightly knit ensemble, those particularly effective, I thought, were Maria Tucci, as Mary’s nurse, Chandler Williams as Mortimer, and the aforementioned Nicholas Woodeson and Brian Murray.
Set and costume design by Anthony Ward create an appropriate unity for the production. The Queens’ costumes, though few, are luxurious, and are particularly vivid set against the stark, almost black brick walls and spare furniture, which convey a tragic tone, aided by the intense, shadowy lighting of Hugh Vanstone.
Here is a powerful production, to be cherished long after one has left the theater.
Mary Stuart
Broadhurst Theatre
235 West 44th Street
Tickets: (212) 239-6200 or http://www.telecharge.com
Running time: 2 hours, 30 minutes
Closes: August 16
Diana Barth writes and publishes New Millennium, an arts newsletter.
David: Again,I thank you for the outstanding enrichment.
Bobby: I got mine for $28 as it was fortunately posted on the discount site.
This is one of your best pieces, period. I hung on with every word, and will soon be getting tickets for Sue and I before that August 16 closing. This story has always intrigued, but we haven’t had a fully satisfactory version to this point.
You should be able to get discount tickets for this Peter. I recently joined TDF, so let me know if you have any difficulty. Thanks for the over-the-top compliment too.
Incidentally I too must chime in for the Ford work here. Not among his best by a long shot but never less than engaging and of course the visual values of the film have been rightly praised by Maria.
Hi Sam,
Your pal Bob and the lovely Miss McTeer can be seen on this video:
Just another JM fan,
Julie
Julie, this is utterly fantastic!!!!!!!!!!!! Where did you get this???
I was doing a (one of several) Janet Mcteer search on YouTube, and came across the video.
Glad you like it!
Hi! Sam Juliano,
Remember when I teased you here irenas-vow-based-on-true-story-of-polish-catholic-hiding-jews-from-nazis…This is what I meant…because you never can tell who is “lurking” with a cell phone camera.
DeeDee 😉