Scottish Ballet's latest production, Mary, Queen of Scots, presents a formidable pairing of two iconic monarchs in a sweeping, stylised narrative that spans decades and countries. Staged at Sadler's Wells, this winning new ballet remembers the famed Scottish queen through the eyes of her cousin, England's Elizabeth I, offering a fresh perspective on historical drama.
A Contemporary Theatrical Vision
In recent years, Scottish Ballet has cultivated a reputation for sharp, innovative story ballets, from a Silicon Valley-inspired Coppélia to a stark retelling of The Crucible. These productions, though created by different teams, consistently share a contemporary sense of theatre with a touch of the surreal. The new Mary, Queen of Scots continues this tradition, co-created by Sophie Laplane, the company's resident choreographer, and director James Bonas, who previously collaborated on The Crucible.
Elizabeth's Perspective Takes Centre Stage
The ballet unfolds through the dying Elizabeth's memories, with guest artist Charlotta Ofverholm moving through the action as the older queen. She observes, reaches into the story, and interacts with her younger self, portrayed with commanding presence by Harvey Littlefield in a role designed for any gender. Perhaps unexpectedly, Elizabeth emerges as the more nuanced figure; while Roseanna Leney delivers a glamorous Mary, luxuriating in Laplane's choreography, the production grants her less inner life compared to the complex Elizabeth.
Distinctive Choreography and Design
Laplane crafts distinctive movements for the hierarchies of each court as the story shifts from France to England to Scotland. Monarchs loom over their subjects: Mary stalks grandly on pointe while those around her stand flat-footed. Early scenes feature young Elizabeth literally on stilts, emphasising her elevated status. The narrative becomes more layered when characters appear as Elizabeth imagines them, such as Mary transforming into a spider to consume Evan Loudon's Darnley, with other dancers providing extra stabbing limbs in a surreal twist.
Soutra Gilmour's designs powerfully amplify the danced images. Catherine de' Medici's huge, steel farthingale evokes both a prison and a climbing frame, while Walsingham, Elizabeth's spymaster, sends out agents wearing insect masks to crawl across Mary's private life. The erotic first duet for Mary and Darnley is full of power play, highlighted by her finger in his mouth, and there's a compelling moment when Thomas Edwards' Walsingham must replay it all for Elizabeth.
Stylised Storytelling and Narrative Play
Unlike many dramatisations that invent a meeting between Mary and Elizabeth, this ballet keeps them apart, even using proxies to dance for them. The storytelling embraces stylised distances, with Kayla-Maree Tarantolo's lime-green jester prodding the action forward as an image of fate that is both perky and heartless. Laplane and Bonas play with narrative and expectations, a strength that occasionally becomes a weakness; the long, complex story sags in places, overloaded with plot points needing more time to breathe. Yet, it bubbles over with energy and thought, ardently performed by the entire cast.
A Packed and Convincing Production
Mary, Queen of Scots is a packed full of ideas, danced with fierce conviction. Though it sometimes sprawls across its ambitious scope, the production remains a testament to Scottish Ballet's innovative spirit. Running until 8 March, it offers audiences a unique blend of historical intrigue and contemporary ballet artistry.
