Lise Bruneau (Mary Stuart) and Lesley Malin (Elizabeth I) in Chesapeake Shakespeare Company’s “Mary Stuart.” Photo by Kiirstn Pagan Photography.
“Mary Stuart,” originally written in verse by Friedrich Schiller in 1800, was translated and revised by Peter Oswald in 2005 into a fascinating psychological study of Mary, Queen of Scots, and Elizabeth I, two of the world’s most famous royal rivals. Chesapeake Shakespeare Company’s production of the revised “Mary Stuart,” directed by Ian Gallanar, is a riveting glimpse into the machinations and scheming involved in governing, as well as a look at two women trying to navigate the minefield of their lives.
The force of each performance as the actors do verbal battle keeps the audience riveted…
“Mary Stuart” takes place in the last year of Mary’s life, leading up to a clash between the two queens as they finally meet in person. Mary seeks safety and the right to be Elizabeth’s heir to the throne of England. Elizabeth is torn—this royal upstart showing up on her doorstep is too close for comfort. Having had a circuitous and dangerous route to ruling England herself, she sees Mary as an unwelcome rival to her throne. But what to do? Elizabeth’s own mother, Anne Boleyn, paid with her life for her schemes. If she imprisons Mary, would her rival become a cause for rebellion? Would killing Mary make it easier for Elizabeth’s own detractors to dethrone her? No one is comfortable with the ultimate solution until Mary forces Elizabeth’s hand.
Relationships in Elizabeth’s day were transactional, with women as barter. Any union led to alliances—between countries, between clans, or within social strata trying to gain favor at court. Elizabeth, beautifully played by Lesley Malin, fends off suitors from her court and foreign countries while simultaneously drawing them in. Elizabeth knows a husband will usurp her power, so she uses flirtation and guile to keep suitors interested and at bay. Mary, well and energetically played by Lise Bruneau, is a complete opposite to Elizabeth’s calm and control. Queen of Scotland at six days old and queen France at 17, she has spent her entire life at court. She is lively, well spoken, and certain, to a dangerous degree, that she is right. Barely contained, Mary crashes through the play, thwarting all efforts to help her.
The fateful meeting proposed by Schiller is a fascinating look at how two women, best suited to understand each other and be allies, are forced into a no-win rivalry. Mary has her fate in her own hands as the two queens meet. All she needs to do is be respectful to Elizabeth and keep her mouth shut. Elizabeth, wary and undecided as to what to do with her rival, is haughty upon arrival. Mary takes her sweet time to kneel. Although she begins humbly, it is not long before her tongue gets the better of her.
The men in this play are conniving as they switch allegiances between Elizabeth and Mary who run circles around them with their the intelligence and wit. Robert Dudley, Earl of Leicester, played by DeJeanette Horne, is excellent as he bounces back and forth between the queens. Elizabeth is in love with him but he has fallen for Mary. Played by Joshua Williams, Mortimer is fervent and lusty as he discovers Catholicism and devotes himself to Mary to a violent degree—until he is found out and pays the price wit his life. Steven Todd Smith plays the knight, Amias Paulet, Mary’s guardian while she is under arrest. Although he is devoted to Elizabeth, he maintains steadfast in his mission to keep Mary safe. Lord Burleigh, played by Michael P. Sullivan, is a devoted voice of reason in the queen’s ear but is usually outnumbered.
The characters in this production are beautifully and regally attired with costumes designed by Kristina Lambdin. The lighting for the play, designed by Dean Leong, and props by Paige Stone are minimal, but perfect in not detracting from the powers on the stage.
Gallanar has a challenge to keep this three-hour production moving until the end, but he does just that. The force of each performance as the actors do verbal battle keeps the audience riveted until the sad, inevitable end.
Running Time: Three hours with one 15-minute intermission.
“Mary Stuart” runs through May 18, 2025 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD 21202. For more information and to purchase tickets, please call the Box Office at 410-244-8570 or go online.
