Last Updated on March 6, 2026
Scottish Ballet’s Award-Winning Dramatic Work
4.0 out of 5.0 starsScottish Ballet’s Mary Queen of Scots is nothing if not bold. It’s also challenging, mostly in a good way. What it deliberately is not is a literal, linear account of the life of Mary Stuart, the Scottish Queen imprisoned and eventually beheaded on the orders of her cousin, Elizabeth I of England. On the contrary, told through the conflicted, confused, guilt-ridden memories of a dying Elizabeth, the ballet blends historical reality with surreal touches to create its own involving, highly theatrical narrative.
It is important, however, to have prior knowledge of who’s who (the programme includes a ‘Meet the Characters’ list), and also to read the synopsis. Even so, a few things may remain a little unclear, but don’t let that bother you – the drift of the ballet will come across loud and clear.
Co-credited to Scottish Ballet resident choreographer Sophie Laplane and director James Bonas, Mary, Queen of Scots premiered at last year’s Edinburgh International Festival, where it won the award for Best Festival Show, and has now had its London debut at Sadler’s Wells. Later in the year, it will bring its wacky slice of British history to the USA.
The ballet starts with the dying Elizabeth – a tour de force guest performance by the veteran Swedish dancer Charlotta Ofverholm – standing alone in tatty underwear amid a snowfall, her frenzied gestures summoning painful memories. We get a brief glimpse of Mary (Roseanne Leney), and an imposing, rather camp Elizabeth, danced by Harvey Littlefield with an unruly shock of red hair, at one point seen walking on stilts.
From then on, the scene will change frequently through the flurry of Elizabeth’s memories, Mary’s story a counterpart to her own, so many of her decisions shaped by the sinister spymaster Walsingham (a totally convincing Thomas Edwards) and his gang of spies sporting insect-like black masks.
One moment, we’re in the French court, where the very young Mary, sporting a disconcertingly modern bob, marries the teenage Dauphin (James Harrington), and we first meet Death in the shape of a playful, acid green jester (Kayla-Maree Tarantolo), who will punctuate the action throughout.
Then we’re in Scotland, where Mary is welcomed after the Dauphin’s death, accompanied by her newfound, charming private secretary Rizzio, danced by the always eminently watchable Bruno Micchiardi.
Mary subsequently marries Darnley (a powerful Evan Loudon), sent to Scotland as a spy for Elizabeth.
However, the marriage flounders when he starts an affair with Rizzio – the pas de deux between the two men is a mesmerising erotic encounter, its very muscular, masculine nature contrasting with Mary’s initial duet with Darnley.
And every scene is watched by Walsingham’s insect-like spies, who crawl on and off the shadowy sidelines, sending shivers down my spine.
I found Act I a compelling roller-coaster, which kept me enthralled until its very end, when a pregnant Mary watches Rizzio’s very graphic murder by the Scottish lords.
By comparison, I found Act II lost a little momentum, preferring to concentrate on fleshing out character and telling the basic story of Mary’s inexorable march to the scaffold.
Mary gives birth, her son represented by a balloon where the Jester helpfully writes James… while barren Elizabeth in the background holds a nameless balloon
We should remember that Mary and Elizabeth, cousins and prolific letter-writers, were friendly until they became a threat to each other. They never met, but what might have happened if they had, both women under constant threat in a world of men? One of the most affecting sections of Mary, Queen of Scots shows Mary and Elizabeth standing side by side in two cupboards where proxy images of both engage in a loving pas de deux. It’s a deeply thought-provoking, emotional moment.
The end is well-known, Mary’s beheading denoted by three stark drumbeats, the culmination of a strongly atmospheric original score by Michael Karlsson and Michael P Atkinson, which skilfully blends Elizabethan, Scottish and electronic music. It was played live by the Scottish Ballet Orchestra, conducted by Martin Yates.
Soutra Gilmour’s versatile set is a three-sided grey wall that can be raised as required to create different settings, complemented by a few props such as the cupboards mentioned above, carried on and off by the dancers and beautifully lit by Bonnie Beecher. Gilmour also designed the costumes, which refer to the historic period without excessive faithfulness.
Mary, Queen of Scots continues Scottish Ballet’s tradition of audacious innovation, cementing its unique identity as a Scottish company with universal appeal.
Mary, Queen of Scots is at Sadler’s Wells from 5 – 8 March 22026
It will tour to the Spoleto Festival, USA, 28 -30 May and the Lincoln Centre, New York, 4 – 7 June
Sadler’s Wells
Rosebery Avenue
London, EC1R 4TN
Check our previews for more dance in London in 2026
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