Mary Stuart: Why she lost her head

Mary Stuart by Friedrich Schiller and Peter Oswald

Auckland Theatre Company
Maidment Theatre
Until May 28

“Just do your job,” Elizabeth I
“Job well done,” President Barak Obama

Schiller's Mary Stuart could have been written by President Obama’s executive team as the play takes us into the world of political intrigue; double agents, flawed intelligence along with power crazed politicians and advisers.

This taut modern version of Schiller’s play written in 1800 revolves around two of history’s great woman, Elizabeth I, the Protestant daughter of Henry VIII, and Mary Queen of the Scots, a devout Catholic, who has been imprisoned on several charges.

The two engage in contest of wills with Mary seeking her freedom (and hopefully the crowns of England, France and Scotland) while Elizabeth wants to retain her position and power and be rid of Mary but reluctant to have her killed and have her become a rallying figure for the Catholic cause.

The script is tense and riveting, the language a fusion of Shakespearean and contemporary, which is admirably handled by most of the cast. The same approach has been taken with the costumes but the clash of foppish Elizabethan and outlandish contemporary doesn’t work visually and is a distraction rather than providing a sense of the symbolic or psychological.

Robyn Malcolm (Mary Stuart) and Elizabeth Hawthorne (Elizabeth) provide electrifying performances. Malcolm is pure captivating emotion, vacillating between despair and optimism, expressing rage fear and fury.

It is, however, Hawthorne's Queen Elizabeth that carries the play. All the deep seated emotions of the character seem to be held in check only allowed to surface in a couple of vehement speeches, which expose her humanity, religion and politics.

Malcolm’s performance is hampered by Hera Dunleavy, who plays her servant Hanna with a fluttering earnestness that is unnecessary. Overacting also mars the performance of Jonathan Kenyon as Mortimer.

But there are superb performances to be had which make for a gripping and enthralling play.

Stuart Devenie as Burleigh the master conniver and unwavering bureaucrat gives a steel edged performance with his acid tongue while David Aston provides a more compassionate Shrewsbury with an engaging intensity.

Andrew Grainger as the efficient but moral jailer Paulet of Fotheringhay Castle manages the political and moral dilemma with a well judged portrayal and Jon Pheloung as the conniving Leicester brings just the right mixture of bravado and cynicism.

There are a couple of great cameos from Cameron Rhodes (Davison) and George Henare (Aubespine and Melvil)