But They’re Cousins

Mary Stuart – Chicago Shakespeare Theatre

 

Mary Stuart spent a large portion of her life imprisoned by her cousin, Queen Elizabeth I, a woman she never actually met in person. At a very young age, Mary was wedded to the Dauphin of France. Only ruling for a few years, King Francis II soon died, leaving his bride, the queen consort of France, to return to Scotland alone. There the young widow married her second husband, her cousin, Henry Stuart, Lord Darnley. The couple didn’t get along and Darnley was killed. Mary was accused of his murder and, when she fled to England for her cousin’s protection, she was considered a threat to the crown. There she was sentenced to prison by Queen Elizabeth. Mary’s imprisonment primarily was due to her insistence that she, and not Elizabeth, was the legitimate heir to the English throne. Like her father, King Henry VIII, Elizabeth was Protestant, while Mary was Roman Catholic. Her English supporters and allies in Scotland and France considered Mary to be the true heir to the throne. It’s this tense conflict that prompted the creation of this drama.

Friedrich Schiller, the prolific 19th century German historian, poet, philosopher and playwright, wrote, among many other works, Maria Stuart, his best-known play. In 2005, English playwright Peter Oswald adapted Schiller’s drama for London’s Donmar Warehouse. He was faithful to the original script, while making Schiller’s play more relevant and accessible for contemporary audiences. The resulting production, orchestrated by award-winning director, Jenn Thompson, is thrilling and eloquent. It’s a majestic production steeped in style and pageantry, while still feeling like a modern-day battle of wills between its two strong women.

The theatrical artists who’ve created the Elizabethan world for this production have added much to the overall effect. Andromache Chalfant’s grandiose scenic design, which consists of two massive, multistoried, stone buildings, turn and angle to create different locales. The stage floor surprisingly opens up to reveal a water-filled pond, in which, during a short, rural respite, Mary is allowed to frolic. Artistically lit by Greg Hofmann and Philip Rosenberg, their palette of light combines the prison cell’s cool illumination with the court’s ceremonial fire. Under their spell, Chalfant’s scenic design becomes even more impressive. Mikhail Fiksel and Miles Polaski have washed these visuals with a sound design that elevates the entire production. And Linda Cho returns to CST to create a resplendent wardrobe for this play. While keeping the gentlemen in retiring shades of black and gray, she adorns her three ladies in commanding colors. Mary, her long, dark hair allowed to flow freely, is adorned in forest green; while Elizabeth, with her iconic, fiery red coif, is majestic in magenta. Hanna Kennedy, Mary’s dedicated nurse, is made even more earthy in shades of brown. Wigs and makeup designs are courtesy of theatrical artist, Richard Jarvie.

The cast is simply sensational. Ms. Thompson began to realize early on that this wasn’t simply Mary’s story, as the title might indicate. She discovered that Schiller’s play is an even-handed tale, equally about both Mary and Elizabeth. As such, she’s cast two incredible actresses in these roles. K.K. Moggie is absolutely breathtaking as Mary Stuart. When this impressive, impassioned young actress is onstage, it’s almost impossible to be aware of anyone else. She’s everything that Schiller could’ve envisioned in this role, and the vibrant Ms. Moggie truly makes this production live. Beautiful and articulate, K.K. Moggie is filled with ecstasy and excitement. Yet Kellie Overbey also brings a certain majesty and magnificence to her portrayal of Elizabeth that transcends history. In her capable hands, Elizabeth is not simply the Queen; she’s a real woman with all the inherent doubts, delights and layers of humanity and emotion possible. Unable to sign Mary’s death warrant, Elizabeth shows us a woman who, despite political danger, is reluctant to end her cousin’s life. This lovely, dignified actress may be the only one capable of sharing the stage with the gifted Ms. Moggie. Together, this dynamic duo offer a winning combination.

The ladies are supported by one other talented woman and a whole crew of mighty men. The always superb Barbara Robertson is powerful and maternal as Mary’s nurse, Hanna. Memorable in so many wonderful scenes, Ms. Roberson shines brightest in her final moments with her surrogate daughter, as Hanna’s allowed to accompany Mary to the gallows. As Robert Dudley, Earl of Leicester, Tim Decker rightfully earns the scorn of every theatergoer. This two-faced opportunist flaunts his faux romantic interest for both queens, flip-flopping as the political winds demand. Andrew Chown is impressive as Mortimer, the young rebel in whom Mary entrusts her life. Patrick Clear is excellent, both as Count Aubespine and Melvil. The always terrific Kevin Gudahl serves as fight captain and also portrays a humorous Amias Paulet. Kai Alexander Ealy makes his CST debut in several cameo roles; and, as George Talbot, Robert Jason Jackson shines brightly, employing his rich, mellow baritone in this sympathetic role. Michael Joseph Mitchell is wonderful as Count Bellievre, but really stands out as William Davison who, along with Lord Burleigh (outstandingly played by David Studwell), is forced to accept the blame and punishment for carrying out Mary’s death warrant.

Friedrich Schiller’s historical drama is brought to life with exuberance by director Jenn Thompson. This political potboiler is a spellbinding thriller that’s laced with romance and sexual intrigue. It’s a production layered with depth and complexity. Schiller’s play brilliantly portrays two women who, even in the 1500’s, were both feminine and yet still wielded all the power of the Elizabethan world. In Chicago Shakespeare’s wondrous production we behold two strong, multilayered characters, each a bit flawed, yet both equally complex and filled with ambition and passion. This is likely to be one of the finest, most memorable evenings of theatre that Chicago audiences will enjoy this Spring.

Highly Recommended

Reviewed by Colin Douglas

 

Presented February 21-April 15 by Chicago Shakespeare Theatre in the Courtyard Theatre on Navy Pier, Chicago.

Tickets are available in person at the CST box office, by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.