20/12/24

Traverse Theatre, Edinburgh

Mary: A Gig Theatre Show takes a bold approach to the Queen of Scots’ story, weaving folk rock with poetic monologues to create a fresh and engaging perspective. While comparisons to SIX are inevitable – royal women of the 16th century reimagined in song for a modern audience – Mary is no direct descendant of the juggernaut Tudor musical. It’s altogether a much more intimate affair.

Writer/lead performer Rona Johnston plays the titular monarch, imbuing her with real humanity. It’s a pacy piece, covering Mary’s entire life in a mere fifty minutes, and it’s to Johnston’s credit that it feels neither rushed nor superficial. That said, this is no history lesson: the focus is firmly on Mary’s emotional journey and her experiences as a woman destined to endure a peculiarly complex set of circumstances.

Like the Queen, Johnston is ably supported by her band of multi-rolling Marys: Izzie Atkinson, Jodie Kirkwood, Hester Irving, Laura Coull and Alli von Hirschberg. Kirkwood provides the comic relief as Darnley, presented here as a puffed-up lech, while Atkinson’s Elizabeth I is a cold and intimidating presence.

Directed by Katie Slater, Mary: A Gig Theatre Show is made very accessible by its homespun vibe, the performers’ onstage camaraderie contrasting cleverly with their characters’ bitter rivalries. This juxtaposition is reflected in the costume design, featuring corsets and long skirts alongside tartan tights and denim waistcoats, effectively straddling six centuries.

The songs, composed by Johnston, are memorable and toe-tapping, ranging from lusty rock powered by Coull’s urgent drums to plaintive ballads that showcase the three vocalists sumptuous harmonies. A standout for me is the languorous duet Johnston performs with Atkinson, the two voices soaring as they hit the final chorus.

While it’s an impressive production in its own right, more than anything Mary: A Gig Theatre Show feels like the beginning of something: young theatre makers at the start of what are clearly promising careers. If this cleverly-written piece is indicative of Johnston’s talent, then I can’t wait to see what she does next.

4.2 stars

Susan Singfield