An adaptation by Kate Mulvaney after Friedrich Schiller
Directed by Luke Rogers
Chaika Theatre at the ACT Hub Theatre, Kingston to 3
August
Reviewed by Len Power 24 July 2024
The story of Mary, Queen Of Scots has been the subject of many books, films, plays and opera over the years. This version has been adapted by Kate Mulvaney from the 1800 play by the German author, Friedrich Schiller. Her version was staged in 2019 in Sydney.
The play starts towards the end of Mary Stuart’s long imprisonment in England. In the legendary rivalry between Elizabeth I and Mary Stuart, great forces are at play, with nations at stake and citizens ready to fight for the just cause. Mulvaney’s adaptation with its modern sensibility focusses on their personal conflict, finding a clever way to bring them dramatically together, even though they never actually met.
The large cast of ten bring this story vividly to life in director, Luke Rogers’ production. The production design by Kathleen Kershaw has the acting space in the form of a cross with the audience seated on both sides. This creates an intimacy between cast and onlookers, drawing us deeply into the play.
Performances by the cast members playing courtiers and others are effective, with especially fine work from Richard Manning as Burleigh, James McMahon as Mortimer, Cameron Thomas as Paulet and Jarrad West as Leicester.
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| Steph Roberts as Mary Stuart |
In the leading roles of Queen Elizabeth and Mary Stuart, Karen Vickery and Steph Roberts are a great match for each other, giving their very different characters nobility, strength and colour as opposing queens while still appealing to us as troubled and real women.
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| Karen Vickery as Queen Elizabeth I |
Mulvaney brings them together in a troubled, drunken dream by Elizabeth after a party. The dialogue in this long scene crackles with electricity and it’s the highlight of the play. Both actors give extraordinary performances in this key scene with never a false moment, making these women deeply human, not just dusty characters from history.
Costuming is a mix of modern day with a suggestion of the period and is quite effective. The sound design by Georgia Snudden provides a subtle soundscape with surprising, but apt, modern music for the party scene at the start of the second act.
Director, Luke Rogers, has brought all the elements of this handsome production together very well. It’s a great production like this that we always hope for when we go to the theatre.
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