As a Scottish nation, we are oft obsessed with our heritage.  We explore our own bloodline with records, family trees and photo albums.  Farther back than our Granny’s childhood tales of the War, there are the Kings, Queens, Lords and Martyrs of yester-era.  In exhuming this part of out heritage, we breathe life into them again by making many and varied dramatisations of their lives.  From either side of the border, Mary Queen of Scots and Elizabeth I have captured the imagination of many writers and directors.  From Liz Lochheads’ 1987 play to the countless Elizabeth I films and television serials to an upcoming Hollywood biopic of our Mary Queen of Scots, we are spoiled for choice.

So is the National Theatre of Scotland and David Harrower’s new rendering of Freidrich Schillers’ European Classic Mary Stuart a worthy addition to our over laden arsenal of regal period dramas or an unnecessary attempt to probe our history further?

The play tells the story of the final days of Mary Queen of Scots' 19 year imprisonment in England.  Betrayal, treason, shifting loyalties and failed escape attempts fill the days leading up to Mary Stuarts' (Catherine Cusack) execution.  The play centres on Schillers’ imagined meeting between Mary Stuart and her half sister Queen Elizabeth I (Siobhan Redmond) and their struggle for power.

Neil Warmingtons’ versatile set design transports the audience from Fortheringay prison tower to the Queens’ court with ease, aided by Natasha Chivers atmospheric lighting.  With a design this arresting, hopes were high for another top grade NTS production on all fronts.  However this was not the case.  Redmond astounds portraying the many and every changing facets of the Virgin Queen and Cusacks’ statuesque and captivating Mary is also commendable.  While the performance of the two leading ladies impresses, Vicky Featherstone’s direction does not.  While the piece is mostly performed as traditional naturalism, there are moments of style which excite but never used to their full potential.  What this production lacks is the innate sense of theatricality we are used to expecting from NTS.  It’s frustrating that the sum of Mary Stuart’s parts do not add up to the brilliant whole it could be.  This reviewer can’t help but feel that had there been more time, more clarity and imagination in direction and script then this translation would have been an exceptional portrayal of two of our most favourite foremothers.

Tour

Citizens Theatre, Glasgow (0141 429 0022)
3- 21 October

Royal Lyceum Theatre, Edinburgh (0131 248 4848)
27 October – 18 November