Scottish Ballet: ‘Mary, Queen of Scots’- Superb!

By Alix Cohen

This is hands down the most thrilling dance production to which I’ve ever been treated. In words I’ve rarely written, there’s nothing I would change. Be prepared for hyperbole. Dancing is exquisite; choreography evocative and original. Commissioned music, especially use of percussion, enthralls. I would buy the recording. Visuals are marvelous.

The ballet is a deftly crafted amalgam of history and myth humanizing Mary Queen of Scots and rival, first cousin, Elizabeth I whose reign is often regarded as a golden age of English culture. It illuminates two powerful women who spent their lives in mortal conflict, yet never met.

The story is experienced through memories and fantasies of Elizabeth I (Madeline Squire) on the verge of dying.
A solo turn finds the Virgin Queen wigless, swathed in minimal cloth, frail, but captivated, much like a child, by falling snow. Sharp, arm-centric moves are somehow not hard-edged.

Squire is a vigorous, character-driven dancer. Pride and entitlement feel as authentic as embattled decisions, ensuing despair, and frailty. She IS a queen.

Successive events follow in a single space observed by Elizabeth I, who wanders into court like a ghost and recalls.

Widowed by Frances II, the Dauphin of France (Mackenzie Jacob), Mary (Marlen Fuerte Castro) is spurned by mother-in-law Catherine de Medici (Alice Kawalek) who moves imperiously within a large farthingale (a ribbed structure beneath skirts) on wheels. Fuerte Castro is all legs, dancing with irresistible grace and precision, epitomizing power and sensuality.

Mary returned to Scotland beginning a long-distance relationship with Elizabeth conducted through letters, ambassadors, gifts, and political maneuvering. In England, courtiers dance for young, flame-haired Elizabeth (Gina Scott). Black-attired and ruffed, some have large, protruding bellies which seen to taunt the Virgin Queen’s childless status.They move, now separately, now as a single organism, magnetized by the monarch.

Scott emerges a thoroughbred performer. Her queen is determined and ferocious even when embattled. At one point, the ballerina struts in towering stilts. Brava.

A character called Jester (Danila Marzilli), in lime green and a pointed hat, facilitates and provokes throughout. The dancer is enormously flexible and poised, delivering a Puckish attitude without ever appearing obvious.

In Scotland, Mary dances with new husband, Henry Stuart, Lord Darnley (Yuri Marques). It’s joyous and suggestive. Elizabeth lives in her head, Mary in her heart and body. As the Lord, Marques imbues his character with patrician swagger. Possessiveness is apparent in every gesture and step.

She, her companion/secretary (some say lover- there’s a wonderful pas de deux) David Rizzio (Andrea Azzari), and Darnley seem to play games. Choreography shows increasing space between bodies. What begins gentle becomes aggressive. The Jester separates them. Azzaris is taut, nimble, sympathetic. I can find nothing in history to indicate even suspicion of an affair between Darnley and Rizzio, yet we see one…as does Mary. Choreography sizzles.

Walking her dog in the garden, Elizabeth is approached by principal secretary/spymaster Walsingham, (James Garrington) who reports on Mary in Scotland. His minions wear helmet/masks resembling insects, replete with antennae. They peek out from everywhere. Drums and brushes provide atmosphere. An elegant dancer, Garrington
also appears believably lethal.

Eventually, we see Mary pregnant, a cloth belly strapped over the dress. Jerking choreography indicates birth.The Jester opens a tall cabinet filled with white balloons. Labeling one James VI with a black magic marker, he passes the “baby” to his adoring mother. We watch a jealous Elizabeth imagine birthing, then being with child, a balloon of her own.

Darnley grows jealous, pushing Rizzio away every time the supposed usurper comes near Mary. He then has her friend murdered in front of her. Lords drag, kick and pummel him. (There were actually 56 stab wounds) Staging is wincingly effective. Mary despairs.The couple break apart.Darnley is himself murdered.

Forced to abdicate the Scottish throne, Mary fled to England leaving behind her son, naively expecting Elizabeth’s support. Instead, her cousin detained her the next 19 years. Presence and birthright destabilized Elizabeth’s reign.The “safer” option was house arrest- moving, under guard, between a series of English noble estates and castles.

We see a framed chicken wire box come down encasing the surprised immigrant. Through Tudor ancestry, Mary has strong claim to the English throne. Loyal Protestants appear helpless. Scrawled writing “Ban the Catholic Witch”, “Burn the Whore” and what looks like code appears on walls. (Projections -Anouar Brissel)

The two queens are doll-like, each upright and still in her own box. When they revolve, proxies step from behind for a
pas de deux signifying connection both undoubtedly dreamed about. No matter how they shift, some part of each body touches and reunites.The figures seem like a single split woman.

Elizabeth is the sole queen in power but danger lurks. In high wattage confrontation that resembles a sexual Master and submissive, Walsingham compels the agonized queen to sentence Mary to death. It’s wrenching to watch. Her own (real) letters express regret, but also relief.Decapitation itself is deftly manifest as a moment- no rolling head.

‘An altogether stunning production.

When Elizabeth I died childless in 1603, James inherited the English throne as James I of England. His accession is known as the Union of the Crowns, since the kingdoms of England and Scotland came under the same monarch.

Director James Bonas offers one creative delight after the other. Interpretation of action is rarely obscure.Towards the beginning, inside Elizabeth’s memory, it’s difficult to know when and where we are, but there’s a comprehensive synopsis in the program. Emotion rules. Facial expressions are right. Focus is complete.

A three-walled Set with invisible doors rises and lowers. At one point, walls seem to drip.Tall cabinets and a few wheeled platforms comprise a world of furniture. (Soutra Gilmour)

Costumes are inspired. Specialist makers of corsets, hats, wigs, prosthetics, and ruffs were employed to terrific effect. Elizabeth’s English court (influenced by Vivienne Westwood, including punk mohawks) differs from Mary’s Scottish one (androgynous tunics and skirts on men.) Every political faction has its own look, a take on the period. We don’t see Elizabeth fully attired until her own death. (Soutra Gilmour)

Lighting Designer Bonnie Beecher has a painterly feel for the dramatic. Her contribution is indispensable.

Photos by Andy Ross

Scottish Ballet: Mary, Queen of Scots
Christopher Hampson, CBE- CEO Artistic Director
Sophie Laplane- Choreographer & Co-Creator
James Bonas – Director & Co-Creator
Mikael Karlsson; Michael P. Atkinson- – Composers
Soutra Gilmour- Set & Costumes
David H. Koch Theater, 20 Lincoln Center Plaza

Alas, the company was here only briefly.
Video https://scottishballet.co.uk/whats-on/mary-queen-of-scots/