Mary, Queen of Scots
★★★★☆ Darkly compelling
Festival Theatre: Thur 16 – Sat 18 Oct 2025
Review by Suzanne O’Brien
Scottish Ballet returns to the Festival Theatre with their thrilling, modern reimagining of one of history’s most famous rivalries – the complex relationship between Elizabeth I of England and Mary, Queen of Scots.
These two towering figures of British history continue to be rich sources of inspiration for storytellers, and it is easy to understand why. In Mary, Queen of Scots, their entangled narratives unfold not as a historical chronicle, but as a memory play seen through the mind of a dying Elizabeth I. It’s a bold, abstract approach that leans into emotion over historical accuracy, creating a production that is haunting and captivating.
Roseanna Leney as Mary (Centre) in Scottish Ballet’s Mary, Queen of Scots. Pic: Andy Ross
Mary, Queen of Scots opens with Elizabeth nearing death, performed with gravity and intensity by Charlotta Öfverholm. Her presence sets the tone for the piece – reflective, unsettling, and at times, surreal. As she looks back, we see the events of Mary’s life and her own, not exactly as they were, but as Elizabeth might have remembered or imagined them.
Mary, danced with extraordinary control by Roseanna Leney, is the central focus. Her performance is both assured and nuanced, capturing her life from grieving widow to powerful ruler to mother and prisoner. Leney conveys Mary’s journey not just through the choreography but through subtle shifts in tone and energy that reveal her inner turmoil.
The ballet pulses with life when Mary meets friend and advisor Rizzio, portrayed with spirited energy by Andrea Azzari. He brings lightness to an otherwise sombre and visually dark production. Azzari becomes one of the few people Mary can trust. The mood shifts again with the arrival of her future husband, Darnley (Evan Loudon), their chemistry brims with flirtation and danger. The partnering in these scenes is especially striking – full of tenderness, passion, and conflict.
moments of reflection
We also witness a younger Elizabeth, danced by Harvey Littlefield, as she deploys spies (dressed in insect-like masks) and grapples with the looming threat of Mary taking her crown. Having both the young and old Elizabeths on stage (often at the same time) allows for moments of reflection. As the older Elizabeth watches her past play out, the emotional toll is palpable. Öfverholm and Littlefield’s dual performances beautifully portray a life burdened by power, fear, and regret.
Harvey Littlefield as Younger Elizabeth, Charlotte Öfverholm as Older Elizabeth and Roseanna Leney as Mary in Scottish Ballet’s Mary, Queen of Scots. Pic: Andy Ross
Sophie Laplane’s choreography and James Bonas’ direction lean into abstraction and symbolism. At times, this results in bizarre and dreamlike imagery, including a balloon symbolising a baby, a murderous spider representing Mary, and a luminous green jester who represents death. These surreal elements blur the line between reality and imagination, evoking feeling over fact.
Set and costume designer Soutra Gilmour creates a deeply effective world using nine moveable wardrobes. Their double-sided design allows dancers to emerge and vanish, enhancing the dreamlike atmosphere.
One of the most poignant ways these are used comes in the second act. The two queens, who famously never met, stand alone in separate boxes and watch two dancers representing parts of themselves engage in a silent, imagined encounter. It’s a powerful visual metaphor for their distant yet deeply intertwined lives.
a punky edge
Mikael Karlsson and Michael P Atkinson’s score, performed live by the Scottish Ballet Orchestra, elevates the storytelling. While rooted in the historical setting, the music feels fresh as it blends Renaissance-style melodies and traditional Scottish sounds with modern electronic elements. There’s a punky edge to parts of the score that echoes the rebellious spirit of its subjects.
The production doesn’t overcomplicate or attempt to cram in every historical detail. Instead, it smartly distils the essence of the queens’ rivalry into an emotionally driven, tightly focused narrative. It avoids stereotypes, giving us fleshed-out portrayals of both women.
It culminates in a visually arresting and emotionally charged climax, which is a fitting end to a ballet that explores rivalry, pain, and the price of power.
Running time: Two hours and 15 minutes (including one interval)
Festival Theatre, 13/29 Nicolson Street EH8 9FT. Phone booking: 0131 529 6000.
Thurs 16 – Sat 18 Oct 2025
Evenings: 7.30pm; Sat Mat: 2.30pm.
Tickets and details: Book here.
Scottish Ballet’s Mary, Queen of Scots. Pic: Andy Ross
ENDS
Mary Queen of Scots, Festival Theatre, Review, Suzanne O’Brien, Scottish Ballet, Charlotta Öfverholm, Roseanna Leney, Andrea Azzari, Evan Loudon, Harvey Littlefield, Sophie Laplane, James Bonas, Soutra Gilmour, Mikael Karlsson, Michael P Atkinson,
