Walking Shadow Theatre Company takes on a centuries-old mystery in a modernized version of Schiller’s Mary Stuart. On an art deco-suggestive unit set, courtiers in dark suits stride in and out with their urgent pleadings before the Queen. Elizabeth, played by Sherry Jo Ward, stands tall among them, resplendent in a long day dress and her signature pearls. The stage is set for a stark, controlled replay of the tragic conflict between the Catholic Mary and her protestant cousin, Elizabeth. This is all about good acting, and Walking Shadow’s production delivers some stellar performances.
Nobody is safe in this story, and nothing is clear. This is what sets the plot in motion and creates a stirring dilemma for all the players. What to do?
The story of Mary Stuart, Queen of Scots, has been retold in many books, which rarely agree on what really happened. The Schiller version, as revised by Peter Oswald, takes on a difficult truth – if it is the truth: just when Elizabeth most needed to show her strength, she is ambivalent. This loosens up all sorts of mechanisms that in a tightly run ship of state would not have been allowed to occur. Ultimately, it comes down to two queens, and the one with the power at the moment equivocates.
Even so, it’s not an enduring story because it’s about battling royals – that would be too simple. Mary is Elizabeth’s cousin, who she’s never met. Elizabeth and select attending Lords easily swallow the treasonous charges leveled against Mary by a servant. On the face of it, it seems silly. But living in such a paranoiac environment, it’s quite believable. With such passionate opinions all around, who should be trusted?
There are multiple parallels one might draw with world politics and religion, heads of state and their advisors, should you want to attach some contemporary relevance to it. I don’t think it’s necessary. The story, and its inherent metaphor for all time, is clear enough.
Oswald’s adaptation retains all of the duplicities, multiple intrigues and undercurrent of self-protection. Director John Heimbuch shows restraint in what is, essentially, a Romantic period interpretation of historic events. Everything is set up, and nothing is given away – never mind that you know how the larger story ends. Ward as Elizabeth deftly balances the challenge of a lead role and a not very likeable character. She has to show Elizabeth the person, or we just won’t care at all. But Elizabeth is not just a queen, she’s an icon, a larger-than-life historical presence. Ward manages these stratums with grace.
Of her courtiers, Lord Burleigh (Robert Gardner) is the hard-ass among them. His long-term influence with the Queen allows him latitude that serves his interests. Gardner plays a chiseled rock of a personality. One can see why Elizabeth would have placed so much trust in him.
Dustin Bronson as the young, passionate Sir Mortimer nicely counter-balances Burleigh’s steady presence. Bronson judiciously allows his fervor to leak out in pretty talk until it finally gets the better of him. Jim Pounds is well suited to play the level-headed Lord Talbot. It’s a relief in this play to have a voice of reason, and Pounds is altogether reliable. Jean Wolff as Mary’s nurse and maid, Hannah, let a little too much go too soon, but found her stride in Act II with her heartfelt speeches to her Queen.
Dave Gangler’s brief appearance as Elizabeth’s hapless secretary, Davison, was just priceless. This scene is brilliantly written and was beautifully finessed by Ward and Gangler. Memorable!
But it is Jennifer Maren as Mary Stuart who must carry this show, and Maren is terrific. Her Act II, scene 1 deserved an ovation, but that would have spoiled the moment. From the speech before Elizabeth to her confrontation with Mortimer, all the emotions packed into this extended scene come out in a brilliant, tight thread – all connected and all authentic, growing in vivid layers. This is award-winning acting.
I don’t like to direct other people’s productions, but I have to mention the final light cue. I hope the blackout is changed to a slow fade. We knew the facts, but we didn’t get the moment. Ward can handle that moment, and a slow fade. What else could we have discovered about Elizabeth that she didn’t get an opportunity to show us?
It’s a long, talky play, but there’s a lot of ground to cover. Pay close attention, get past the first 15 to 20 minutes, and you won’t think it’s long at all. It just gets better and better. Mary Stuart runs through March 1 at Red Eye Theater.
Recommended!