Mary Stuart

Published Friday 22 July 2005 at 10:35 by Peter Hepple

Peter Oswald puts a nice contemporary spin on his new version of Schiller’s classic, proving that equivocation is nothing new, with Queen Elizabeth signing Mary Stuart’s death warrant and then protesting that she did not intend it to be immediately carried out.

There are other examples also, with the implacability of Burleigh contrasting with the positions taken up by other ministers and lovers, reminiscent of attitudes taken up in more recent situations regarding conflicts and questions of justice and freedom.

All of which make this production by Phyllida Lloyd one of the most notable in London to date this year, with a topline cast headed by two of our best contemporary actresses.

Harriet Walter is a striking Elizabeth in every respect, steely but uncertain, conscious of her womanhood in a masculine world, flirtatious but duty-bound, hiding her feelings beneath an iron mask of determination.

Janet McTeer is also every inch a woman but one who is more assured in her right to the throne and absolutely steadfast in her Catholic faith.

But here again there are feminine feelings, particularly in her scenes with the fictional Mortimer (Rory Kinnear). As an actress, McTeer is fearless in her playing of a key scene in a drenching rainstorm, which is perhaps not theatrically necessary but certainly adds interest to a spartan setting.

But there is genuine strength in the entire company, with David Horovitch as the ruthlessly pragmatic Burleigh, Guy Henry as the emotionally torn Leicester, David Burke and James Fleet as Shrewsbury and Mary’s guardian and Barbara Jefford and Tam Dean Burn as her devoted servants. In every way, it is a engrossing evening.