×
You will be redirected back to your article in seconds

London Theater Review: ‘Mary Stuart’ at the Almeida Theater

With:
Alexander Cobb, Rudi Dharmalingam, Vincent Franklin, David Jonsson, John Light, Carmen Munroe, Eileen Nicholas, Daniel Rabin, Sule Rimi, Juliet Stevenson, Alan Williams, Lia Williams.

A nation divided with history hanging in the balance: Robert Icke’s new version of Frederich Schiller’s “Mary Stuart” reflects this runaway year. With a coin toss each night determining which roles actresses Juliet Stevenson and Lia Williams will play — one England’s Queen Elizabeth I, the other Scotland’s doomed Mary Stuart — it’s not so much the mirror image that strikes you as the contingency of it all. Everything might so easily have been otherwise and, in times of great churn, when history loses its head, the future is governed by chance — and by chancers.

So it is here. Schiller shows England’s queen crushing a Catholic uprising against her reign, quite literally cutting off its head by imprisoning, and eventually executing, Mary Queen of Scots, her opposite number and cousin. If her hand wavers over the death warrant, it’s for fear of setting a precedent for regicide. Sign away Mary’s life and she risks writing her own death warrant in turn.

These women are, in a very real way, two sides of the same coin. Not only are they one another’s sole equals, elevated above the populations they rule by their royalty, they are also both equally captive: one in defeat, the other in victory. As monarch, Elizabeth finds her hand forced — by her people’s will, by her jostling advisers, by logic and by faith, even by history itself. “The crown,” she says, “is just a prison cell with jewels.”

The coin toss makes that duality abundantly clear. Since either casting’s a possibility, each actress seems to contain the other somehow, and Williams and Stevenson are one another’s mirror images: their hair identically short, their blouses both brilliantly white, just as androgynous as each other.

They are, however, actors of very different timbre. Williams is elfin and quicksilver; Stevenson, sober and searching. When Williams plays Elizabeth, her manner suits a queen who knows sex is part of her arsenal, while Stevenson’s a penitant, almost puritan, prisoner as Mary. It’s just as easy to imagine the opposite: a stern, stoical monarch and a defiant, even dandyish, rebel.

However, as the coin spins, rumbling around in its brass bowl, the entirety of history seems briefly suspended. Either woman could emerge as the victor and, you realize, that’s how war works. The winner determines the future. They define the nation. Elizabeth persecutes England’s Catholics but, on another day, Mary might have purged it of Protestants. After a divisive referendum, a vote that might have gone either way, Britain’s future, its entire national identity, feels just as precarious once again.

This is basically Schiller as “Sliding Doors,” and it goes way beyond that one flip of the coin. Any single moment might send history spinning off elsewhere, and Icke stresses the sheer uncertainty of unfolding events. When the two monarchs meet — a meeting that “will decide everything” — emotions get the better of diplomacy. An assassination attempt misses its mark by mere millimeters: Williams emerges bloodstained, a bandage just shy of her jugular. Behind the two queens, loyalists jostle for influence, all these men trying to grab the steering wheel for their own ends and ideals. Vincent Franklin’s technocrat Burley outmaneuvers John Light’s alpha Leicester who had, himself, seen off Rudi Dharmalingham’s young radical Mortimer. One slip and they’re out — a footnote in history — but all of them are improvising: opportunists on the hoof.

That’s the terrifying thing about this “Mary Stuart”: No-one’s in control, but everything’s at stake — and don’t we know how that feels. Icke plays it at full pelt, with the utmost of urgency, fraught as hell. It springs onto the stage and shouts itself hoarse, and what’s lost in narrative clarity is gained ten times over in nerve-shredding thrills.

Like all good thriller writers, Schiller supplies a great twist, but suspense gives way to horror. Victors tend to wipe out opposition and, as Elizabeth ends deified — the actress transformed into the icon we know — Mary ends up entirely destroyed. History is a zero-sum game. The winner takes all.

London Theater Review: 'Mary Stuart' at the Almeida Theater

Almeida Theatre, London; 325 seats; £38 ($47) top. Opened, December 15, 2016; reviewed Dec 14. Running time: 3 HOURS, 15 MIN.

Production: An Almeida Theatre production of a play in two acts by Frederich Schiller

Creative: Adapted and directed by Robert Icke; design, Hildegard Bechtler; lighting, Jackie Shemesh; composition, Laura Marling;
sound, Paul Arditti; video, Tim Reid.

Cast: Alexander Cobb, Rudi Dharmalingam, Vincent Franklin, David Jonsson, John Light, Carmen Munroe, Eileen Nicholas, Daniel Rabin, Sule Rimi, Juliet Stevenson, Alan Williams, Lia Williams.

More Legit

  • Hamilton review London

    ‘Hamilton’ Helps Drive London Theater Attendance, Box Office to Record Levels

    Brits don’t just like going to the movies; they’re heading to the theater in greater numbers than before, too. “Hamilton” and other hits, particularly musicals, helped drive an uptick in box office receipts and attendance in London’s West End and across the U.K. last year, according to figures from the organizations Society of London Theatre [...]

  • Ethan Hawke

    Listen: Ethan Hawke on 'True West' and the Ghost of Philip Seymour Hoffman

    Ethan Hawke had a long relationship with Sam Shepard and his work — but he never thought he’d end up on Broadway in “True West.” That’s because Philip Seymour Hoffman and John C. Reilly had already put their stamp on the show in the 2000 Broadway revival of the play. “I kind of felt that that [...]

  • Editorial use onlyMandatory Credit: Photo by

    Kaye Ballard, Star of 'The Mothers-in-Law,' Dies at 93

    Singer-comedienne Kaye Ballard, who starred alongside Eve Arden in the 1960s sitcom “The Mothers-in-Law” and was among the stars of the 1976 feature based on Terrence McNally’s farce “The Ritz,” died Monday in Rancho Mirage, Calif. She was 93. She had recently attended a screening of a documentary about her life, “Kaye Ballard: The Show [...]

  • CAROL CHANNING HERSCHFELD. Actress Carol Channing

    Remembering Carol Channing: A Master of Channeling the Power of Personality

    There was only one Carol Channing, and her outsize personality was a source of delight to many fans — and imitators. Gerard Alessandrini’s stage spoof “Forbidden Broadway” had many incarnations over the years, including the 1994 edition when an audience member was selected every evening to come onstage and impersonate Carol Channing with the cast. [...]

  • Editorial use only. No book cover

    Viola Davis, Lin-Manuel Miranda Among Celebrities Remembering Carol Channing

    Viola Davis, Lin-Manuel Miranda and Bernadette Peters are among the slew of celebrities taking to Twitter to pay tribute to late singer, comedienne and actress Carol Channing. Known for her starring roles in Broadway’s “Hello Dolly!” and “Gentleman Prefer Blondes,” the legend of the stage and screen died Tuesday at her home in Rancho Mirage, [...]

  • What the Constitution Means to Me

    Listen: How Things Got Scary in 'What the Constitution Means to Me'

    For a decade, writer-performer Heidi Schreck had wanted to write a play inspired by her experiences as a teen debater. But over the years the show started to develop into something both urgently political and deeply personal — and things got scary. In the Broadway-bound “What the Constitution Means to Me,” Schreck reimagines her speech-and-debate [...]

  • Carol Channing Dead

    Carol Channing, Star of Broadway's 'Hello, Dolly!' and 'Gentlemen Prefer Blondes,' Dies at 97

    Larger-than-life musical stage personality Carol Channing, who immortalized the characters of Lorelei Lee in “Gentlemen Prefer Blondes” and Dolly Gallagher Levi in “Hello, Dolly!,” has died. She was 97. Channing died Tuesday of natural causes at her home in Rancho Mirage, Calif. Her publicist B. Harlan Boll confirmed the news. He wrote, “It is with [...]

More From Our Brands

Access exclusive content