Scottish Ballet presented their contribution to the Edinburgh International Festival this year with the brooding portrayal of the historical Mary, Queen of Scots. Co-created by choreographer Sophie Laplane and director James Bonas, this is a bold show with outstanding production design and provocative content, contrasting a dark grungy tragedy with moments of ludicrous humour and cyber-punk neons.
Bringing modernity to tradition, Scottish Ballet embraces evolution, focusing not only on choreographic motifs but also a heavy-handed stylism that focuses on the way in which the design and story are represented. With Soutra Gilmour’s set and costume design, this is a completely elevated ballet featuring moving walls, a clown dressed in bright lime, and a giant farthingdale-like cage on wheels which Catherine De Medici (Madeline Squire) parades around in. The production is rich in imagery, with Elizabeth’s spies being dressed as flies in intricately made masks, and Elizabeth (Harvey Littlefield) herself being dressed in pastelled finery that contrasts with the simplistic black clothes of Mary (Roseanna Leney). Symbolism is not only portrayed with conviction through the production design but through the direction too with one of the most striking images for me being the murder of Rizzio (Javier Andreu) in the finale of act one. His limp body is strung up by the hips leaving him suspended lifelessly in the air.
Laplane’s contemporary and unconventional choreography merges together with Bonas’ grounded and commanding direction to create a highly expressive piece of work. One of my favourite elements in this ballet was the presence of a dying Elizabeth who watches on as she sees moments of her life pass by. Played by Charlotta Öfverholm, it was incredibly poignant to see a more mature dancer present, especially in such a reflective role as this. In fact, Öfverholm is a great advocate for the continuation of the careers of mature dancers, artistic directing the company Age on Stage, which features dancers and performers over the age of 45. Öfverholm danced freely and embodied the sensitivity towards Mary that Elizabeth gained with age as well as a sense of confusion and disorientation as death prepares her for the end. There was something incredibly beautiful in the dressing of Elizabeth near the end of the performance, with her being layered in petticoats and ruffles. Most of her time on stage is spent in undergarments, adorning only a tattered ginger wig so seeing her restored to her grand form in her final moments is incredibly moving.
In her essay commissioned by EIF to further explore the context of this show, Doctor Jade Scott stated that “Both [Elizabeth and Mary] were female rulers surrounded by a political system designed by, and for the continued benefit of men.”. This sentiment is captured beautifully by Laplane and Bonas; towards the end of act two Mary and Elizabeth watch their younger selves (performed by Anna Williams and Grace Horler) dancing with each other, yearning for what could have been. Leney and Littlefield showcase themselves not only as dancers but as actors too. The expressive capabilities of the pair creates an attitude of deep regret and painful reminiscence, giving reverence to the relationship between the two women. The lens through which the story is presented shows grace towards both women, recognising the deeply complex nature of their relationship to one another – both in times of sympathy and disdain. Scottish Ballet have successfully created a work to marvel at, executing it with strong vision and well-informed and assured decisiveness. The cast bring a deep emotivity to their dancing, finding power in the stillness as well as in the movement, building up complex character profiles with their expressivity. The creative team too have excelled as usual – it seems almost impossible at this point for Scottish Ballet to disappoint.
Mary, Queen of Scots runs until the 17th of August at the Festival Theatre, with tickets available at https://www.eif.co.uk/whats-on
Reviewer: Jessie Martin
Reviewed: 15th August 2025
North West End UK Rating: