Mary, Queen of Scots - English National Opera
Written by Cathie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Trigger warnings: Sexual assault and death on stage
The Great Mary Queen of Scots has been a subject of fascination and wonder for many and her life has been repeatedly explored in films, TV series and books. Now her life has been turned into a beautiful, passionate opera. Written by Scottish modern composer Thea Musgrave in 1977, this is an opera of three acts. Musgrave is an award winning and internationally respected composer and this opera is one of the finest jewels in her glittering crown of works. Directed with passion and nuance by Stewart Laing, and conducted by Joana Carneiro this opera is premiering in two performances at the London Coliseum in February 2025.
There are too many events in Mary’s tumultuous life to fit into an opera and showcase it in justice, so the plot is condensed to Mary’s return to Scotland after her first widowhood and her few years in power before fleeing to England. Mary is portrayed by Heidi Stober with immense gravitas and vivid passion that the audience could tangibly feel. She is excellent in showing how, due to the politics at the time, much of Mary’s power and agency was limited and controlled by the powerful Lords around her. However, Mary’s inner strength, grace and vulnerability is performed with much pathos and adds a lot of tension to the opera. The three main threats are James Stewart (Alex Ottoburn), Lord Darnley (Rupert Charlesworth) and Lord Bothwell (John Findon). Stewart is Mary’s elder but ineligible brother who’s scheming and lust for power drives much of the chaos in the plot and is portrayed with a powerful presence by Ottoburn. Lord Darnley, who was played with much style by Charlesworth, is her drunk English husband who is too fickle and weak to give Mary the support she needs and causes much of the tumult and chaos in her reign and leads her to trouble with the vicious Lord Bothwell. His intimidating presence had a palpable aura in the auditorium and was played with much gravity and ferociousness by Findon. They are supported by an incredible cast including Alastair Miles, Felicity Buckland, Sian Griffiths, Monica McGhee, Barnaby Rea, Darren Jeffery, Jolyon Loy and Jenny Stafford.
This opera is also fully sung in libretto English, so there are no barriers to understanding what is said on stage. There is also a caption box above the stage which shows every line being spoken so if you find that style of singing difficult to understand you will still be able to access all the lines easily. Laing’ set is initially confusing as it has stark black walls and a simple gazebo which is in various stages of construction throughout the opera. However, this is quickly shown to be a clever metaphor for the way Mary is slowly boxed into a corner by her decisions and that of others as well as showcasing the passage of time in a subtle way. This along with Mady Berry’s 70’s costuming led the opera to feel much closer to modern times and more grounded in our times. D.M Wood’s use of lighting was fantastic in highlighting the tragedy and culmination of events and definitely helped evoke the tense atmosphere and Alex McCabe’s choreography was fresh and invigorating to watch. In terms of pacing the first two acts are completed in the first half of the opera, which staggers to an hour and thirty minutes. Although this builds the tension superbly, it means the second half of the show is only 25 minutes long. This definitely aids in building the tension and concludes feel even more powerful and tense than it might have been otherwise.
This is a beautifully passionate, dramatic and scandal filled opera that is brilliant for a first time introduction to the form or for those who have enjoyed it for years will have a wonderful time. If you enjoy passion, intrigue, history and fabulous music then this is the show for you.
★★★★
