Trigger Warning: This article contains mentions of sexual assault and rape. Reading discretion is advised.
★★★★✰
Writer Rona Munro has achieved success with her award winning series The James Plays that detailed King James and the history of Scotland during the 17th century. Mary follows in the same vein, this time exploring Mary Queen Of Scots’ forced abdication from the throne in 1567. Although Mary is central to every topic discussed in the play, she scarcely features on stage herself. Played strikingly by Meg Watson on her professional debut, she occasionally appears walking alone as she portrays an increasingly daunted figure.
Instead, the play centres around the viewpoints of the diplomats and servants who are surrounded by constant rebellions against the crown. ‘Mary’ is 90 minutes of stunning exchanges from three characters with different ideological differences, but who are united in their duty to serve Scotland.
Douglas Henshall delivers a spectacular performance as the James Melville, who has been a devout devotee to Mary Queen of Scots for over 20 years. Brian Vernel at first portrays an under confident Thompson, with his first scene involving him being stabbed. The play consists of two scenes, and in the first scene, Melville is able to overwhelm Thompson and persuades him to do his bidding, in the second. Thompson has used Mary’s precarious position to rise up the ranks and has secured a position as a government aide, allowing him to engage in more intense debate with Melville due to his heightened status, which is performed brilliantly by Vernel.
Agnes, a protestant servant, makes up the character trio. She opposes Mary due to her Catholic faith, but as the play goes on develops sympathy and a sense of anger for the Queen. Rona Morison delivers the best performance of the night, as her change of heart towards Mary Queen of Scots evokes the sentiments of the MeToo Movement. Morison does not get enough lines to showcase the talent she has, but this is an intentional move by Munro and is stated by the character herself. Melville and Thompson interrogate each other as if they are playing a game of chess. They strategically plot their next move with every word. Munro’s clever dialogue allows a variety of themes to be explored that have parallels to modern society. This includes the spreading of fake news within society, the identification of truth, and the rise of nationalism.
The ability to seek the truth becomes a pivotal theme as Mary develops, and once the alleged rape of Mary is revealed by Melville, Vernel cross-examines him in order to reach a conclusion based on truth. What follows is unsettling as Thompson interrogates Melville on the nature of his thinking and why he believes such an awful event occurred, which reduces the loyal courtier to tears. Although this is an uncomfortable watch, both actors nail their difficult roles exceptionally well, with the persistence from Thompson and the emotional vulnerability from Melville.
Ashley Martin-Davis’ set is fantastic and immersive. The moody brown panelling is based on the architecture in Holyrood Palace where Mary once resided. Roxanna Silbert’s direction is smooth, the minimal staging of tables and chairs helps the audience focus on the power dynamics between the three characters.
Mary concludes with the lights turning an intimidating shade of red and an ensemble of women run onto stage, shouting that they desire ‘The truth!’ “The truth! We want the truth!” Because the play has been dominated by dialogue, the burst of energy from the angry ensemble feels even more impactful. It is a very powerful ending to a play that examines how the act of sexual violence can be used as a manipulation tactic by others for their own gain, and how the truth can so often get twisted in correlation to what others want to believe.
Mary is a fantastic new play that conveys political dynamics and coercion in the most brutal, yet real, light. With the fast dialogue and fierce passion from all three main characters, Mary will leave you on the edge of your seat to the very end.
Words by Ester Scott
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