ATC’S production of Mary Stuart provides a thrilling introduction to Friedrich Schiller – the philosopher, poet and playwright who is honoured in Germany with the same kind of respect that English speakers reserve for Shakespeare.

The rivalry between Elizabeth I and Mary Queen of Scots is familiar from numerous film and television dramas, but in Schiller’s radical interpretation the story becomes a deeply romantic inquiry into power, passion and the exercise of free will.

The production plunges us into a seething, chaotic world full of dissembling, double-dealing, religious fanaticism and cool Machiavellian plots. [More] 
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At a time when world media is obsessed with the English royals’ pretty wedding frocks and resplendent pomp and ceremony, showcasing a perfectly dressed union of state, monarchy and church, Peter Oswald’s new version of 18^th century playwright Friedrich Schiller’s Mary Stuart takes us back to a time when having influence through power, religion, loyalty and monarchy, could literally be a matter of life or death.

And yet, though separated by centuries, Schiller’s Mary Stuart shows us that time hasn’t changed one aspect of monarchy: that the world continues to judge by appearance, rather than reality.

Plunging us into a fascinating period of history, where 1000 years of bloody and brutal anger, hatred and religious persecution had driven Scotland and England to crisis point by the late 1500s, Schiller brings two leaders, two Queens, two women, face to face.

At the heart of this meeting, is the tangible burden that Queen Elizabeth I carries – that the majority of the people of England want Mary Queen of Scots dead. Surrounded by conflicting advice, from an army of men, the vast majority with ulterior motives and self-serving agendas, Elizabeth’s decision resonates clearly with today’s Obama-Osama situation: will the execution create martyrdom that will prove a much stronger enemy?

Oswald’s version of Mary Stuart gives us a great sense of the personal sacrifice as well as the political dilemma faced by Queen Elizabeth. It is a script full of the complexities faced by both these women – two leaders of great influence in a male dominated world. 

Through the characters of Leicester, Shrewsbury and Burleigh, Oswald also captures how shrewd interpretation of the law was used to manipulate, and stall proceedings, as the influence of Parliament became increasingly louder under Elizabeth, the last of the Tudor Monarchs. 

Through debate, his script also speaks insightfully about the nature of legal application. A chilling Burleigh, played with palpable cunning by Stuart Devein next to Robyn Malcolm’s feisty Mary Stuart, creates a fine example, as she protests English law being applied in retrospect, and challenges whether he has the jurisdiction to apply English laws for her alleged crimes committed in Scotland. 

The Auckland Theatre Company (ATC) with director Colin McColl gives us an accessible and neatly stylised Mary Stuart. 

As sound designer Eden Mulholland’s discordant soundscape fills the auditorium, John Parker’s set design is revealed. Comprising of huge floor-to-ceiling metal screens, which could be lead-light windows in a church, or trellis on a garden wall or giant cages, they are moved around slowly like chess pieces between scenes. When we are in Queen Mary’s prison, coupled with lighting designer Phillip Dexter’s chiselled, wintry pallet and use of shadow, the effect is oppressive and chilly.

By suitable contrast, when the screens and lighting are opened wide, and Mulholland’s audio changes to a merry lute & flute tune, the brightness and opulence of the English Court is clear. McColl and this design team also create a confronting and dramatic final image.

Elizabeth Whiting’s costumes are intriguing. Rather than a strict representation of the period (1500s), her concept is indicative of the styles of the time, shown through one aspect or accessory of each piece referencing the time. She has created a whole new modern Elizabethan Era Line (of fashion), which also reiterates many of Mary Stuart’s underlying themes. (For example, oversized shoulder pads show a desire for power.) 

McColl’s cast includes some of New Zealand’s strongest stage actors. Elizabeth Hawthorne’s performance is suitably high status and regal. But she also gives us a sense of Queen Elizabeth’s pain, humanity and of how lonely it is at the top. She is surrounded by advisors, all happy to debate the pros and cons of decision making with their Queen, but ultimately it is she who has to make the bloody call.

Robyn Malcolm is a spirited and strong Mary Queen of Scots, but also captures her moments of sheer panic and vulnerability extremely well.

George Henare is delicious as Ambassador Aubespine, wooing Queen Elizabeth on behalf of the French Prince. Henare later plays Melvil, hearing Queen Mary’s final confession, with great reverence. 

David Aston plays level headed and well reasoned Shrewsbury perfectly; Andrew Grainger is a solid and uncompromising Paulet; Stuart Devenie plays Burleigh with magnificent deadpan calculation; Cameron Rhodes is excellent as the administrative servant Davison; Hera Dunleavy does well in the role of Hanna, Mary Start’s companion, as does Edward Peni in his dual roles.

While Jon Pheloung plays a persuasive and eloquent Leicester, at times I felt he needed to show more magnetism and charisma – enough to satisfy me beyond a doubt that this man could capture the heart of not just one, but two Queens.

Recent NZ Drama School Toi Whakaari graduate Jonathan Kenyon plays Mortimer as wild-eyed, impulsive and obsessed. However, the physicality in some scenes, while no doubt intending to show his love and infatuation for Catholicism and Queen Mary, comes across as creepy and primal lust. 
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