The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting
Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).
Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).
Two queens. One in power. One in prison. It’s all in the execution.
Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.
Get your tickets here and have a read of my review from the Almeida here.
“The Queen? Which Queen?”
Robert Icke’s Mary Stuart is a towering success, an extraordinary piece of theatre that surely ranks amongst the year’s best, no mean feat considering his Oresteia, also for the Almeida, did the same thing last. There’s added spice here too since leading players Lia Williams and Juliet Stevenson do not know which of Queen Elizabeth I and Mary Queen of Scots they will be playing until the beginning of the performance when it is decided with a coin toss. And so too, dear reader, must you decide…
“It’s all in the execution”
Aside from an excuse to use one of the greatest publicity shot ever created in our lifetimes, courtesy of Miles Aldridge, this is actually a public service announcement to let you know that more tickets for Mary Stuart will go on sale at 10am today (Monday 5th December). And a little bird can tell you that since the show is pretty much in the round, the new seats that they’ve added in the Stalls (Section C) are really rather good as you’re very close to the action. (Sightlines are affected occasionally esp in final scene so I’d opt for 3-4 or 31-32 if you can). That little bird might also tell you to book now for the love of God, tickets will be like gold dust!
Running time: 3 hours 20 minutes (with interval) (subject to change)
Booking until 21st January
“We are both queens”
There’s much to enjoy about this Mary Stuart but what is particularly pleasing to see is Robert Icke’s directorial instincts developing and maturing. The production opens with Tim Reid’s live video, capturing the opening gambit, but cannily isn’t used again until a key counterbalancing action later on; likewise original compositions from Laura Marling are quite the coup but again are used sparingly, wisely, at two crucial and contrasting moments. The timestamping of each act over a more or less 24 hour period measures out a steady but always forceful sense of pace – Icke has always been a strikingly effective director but the less is more ethos espoused here is singularly superb.
So too with the political overtones of his adaptation, everywhere you look contemporary resonances can be found but they’re never overplayed. The 52% are hauled over the coals when “a majority does not prove a thing is right”; the dangers of riding roughshod, Trump-like, over the tenets of “international laws” are explored; the doublespeak (or rather non-speak) of ‘Brexit means Brexit’ finds a chilling partner in Elizabeth’s determination to shift the responsibility of the death warrant onto her man Davison, surely no accident that his modern-day equivalent is called David Davis… Continue reading “Mary Stuart – heads you win”
“You seem to know our miseries alright”
A coin toss is naturally a game of chance and so the odds of getting the same side twice in a row are just as high as getting heads and then tails (or maybe not, but I’m not researching probability theory on Wikipedia to pretend that I know). What I’m trying to say is that I went back a week later and I got Williams as Elizabeth and Stevenson as Mary again and so my plans of having two different reviews went kaput!
Here’s the review I did write.
“I am determined to prove a villain”
It’s nice to see The Faction switching things up a little. Their rep seasons at the New Diorama have considerably brightened up the last few Januaries with Shakespeare, Schiller and more but this year sees them drop the three play model for a single show in Richard III and expand their ensemble to 19 bodies, impressively increasing its diversity in age, colour and gender. The Faction’s playing style is stripped-back and largely prop-free, allowing a focus on physical expression to reinterpret the text.
It’s an approach that is suited to the black box of the New Diorama with its blood-red floor mat, Mark Leipacher’s production making varied and visceral use of bodies to form everything from the tower walls that imprison the young princes to the horse Richard rides into battle. And it’s clear that nothing is accidental here, every choice intelligently considered as seen in the bodies that make up the throne to which Gloucester finally accedes, being those of the four men he has most recently had killed. Continue reading “Review: Richard III, New Diorama”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”