Mary, Queen of Scots Reimagined in Edinburgh Festival Shows

This summer, the Edinburgh International Festival features several productions centered on Mary, Queen of Scots, the Scottish monarch who inherited the throne at just six days old in 1542. Mary, who also became queen consort of France and was executed in 1587 at the age of 44, is the subject of varied artistic interpretations that delve into her complex life and her relationship with her cousin, Elizabeth I of England. These shows, ranging from ballet to theater, offer fresh perspectives on a historical figure often defined by tragedy and conflict. One prominent production is a ballet co-created by director James Bonas and choreographer Sophie Laplane for Scottish Ballet. Premiering at the festival, this piece moves beyond a strictly historical recounting to focus on emotions and relationships, particularly Mary’s dynamic with Elizabeth I. The narrative unfolds through Elizabeth’s memories and imagination, providing an intimate look at the personal and political tensions between the two queens. Bonas notes the violent context of the era, referencing Elizabeth’s decision to execute Mary, a decision echoing the execution of Elizabeth’s own mother, Anne Boleyn. In a contrasting portrayal, Mhairi McCall’s 'Mary, Queen of Rock!' reimagines Mary as a rock star inspired by icons like Tina Turner and Stevie Nicks. In this show, Mary returns to Scotland from France to discover that rock music has been banned in favor of pop, a metaphor for the religious conflicts between Catholics and Protestants during her time. McCall describes Mary as a 'badass,' emphasizing her strength and defiance in the face of adversity. Another production, 'Mary: A Gig Theatre Show' by writer and performer Rona Johnston, presents Mary’s story as a tragedy. Johnston highlights the potential Mary had, suggesting she was 'torn down in her prime' due to the political and personal challenges she faced. This show adds to the festival’s multifaceted exploration of Mary’s legacy, focusing on the lost opportunities and the constraints imposed on her life. Collectively, these Edinburgh Festival performances challenge the traditional narrative of Mary, Queen of Scots as merely a rival to Elizabeth I. By employing diverse formats and perspectives, they shed light on her resilience, emotional depth, and the violent historical context that shaped her fate. The shows underscore the enduring fascination with Mary’s story, inviting audiences to reconsider her place in history through creative and contemporary lenses.