The present drama on stage at the Little Theatre of Alexandria is a 2005 version by Peter Oswald of the 1800 play Mary Stuart, by German playwright Friedrich Schiller (1759-1805), a masterpiece production certain to attract historians and theatre lovers alike to learn more about the conflict between two queens, to gauge accuracy and see nobles vie for the throne of England before ostensible orders by Elizabeth I ended Mary's life with beheading, like Elizabeth's mother, Anne Boleyn, had died upon direction by Elizabeth's father, Henry VIII, who was Mary's great uncle.
(Did you get all that? If not, the play provides clarity and background for better understanding.)
Mary Stuart of Scotland (AKA Mary, Queen of Scots, 1542-1587), a Catholic, and Queen Elizabeth I (1533-1603), a Protestant, experienced different upbringings and lifestyles which no doubt contributed to their clash.
The two powerful women never met but Schiller brings them together for his play.
A fierce verbal battle erupts on stage when Mary and Elizabeth compete amidst secrets and courtiers who have no allegiance except to themselves.
But Mary's chilling words hurled at her cousin cannot be forgotten and seal her doom.
In the production, both actors (Sarah Cusenza is Mary Stuart, and Maria Ciarrocchi is Elizabeth) are more than convincing in their styles and portrayals of the two queens, although Ciarrocchi's screams became taxing at times.
The Earl of Leicester (Thomas O'Neill) was a typical hypocrite who does a splendid job of loving both two queens, but neither is more important than his love of self.
John Paul Odle is the Schiller-fictionalized and aptly named "Mortimer," Mary's confidant who commits suicide after Mary's enemies learn about his plan to rescue his queen from imprisonment.
Poor William Davison (Stuart Fischer), one of Queen Elizabeth's aides who is understandably confused by the death warrant for Mary which Elizabeth gives him.
To kill or not to kill?
The surly and conceited Lord Burleigh (John Henderson) takes the warrant from Davison without hesitation, making headway to do the Queen's will...which was?
Lord Burleigh will interpret it his own way, if you please. Off with her head! To which Elizabeth claims error.
"How dare you?" and to the tower and banishment they go.
The show runs three hours, but its complexity, intrigues, and costumes (!) demand attention, and make it seem shorter.
Elizabeth had Mary imprisoned for 19 years and the play begins and ends in 1587 at the Castle of Fotheringhay, the scene of Mary's last confinement and her trial.
The set by Matt Liptak is a realistic depiction of high brick walls (and landscaping) found in pictures of English castles in the Middle Ages.
With a few quick turns, Mary's prison quickly converts to Queen Elizabeth's Westminster Palace.
If the script were absent, Juliana Cofrancesco and Abbie Mulberg's lavish costumes and hair and makeup by Robin Maline and Lanae Sterrett, assisted by Karen Malin, are practically worth the cost of admission.
Elizabeth's gowns sparkle with jewels, multiple "diamonds" lining her apparel. Standup collars, and the men's white stockings and their own luxurious wardrobe produce gladness and a singing heart that these styles are not in vogue today.
Wardrobe coordinators, Mary Beth Smith-Toomey and Margaret Snow help fit Mary in a white gown for her execution, like the one she wore for her death by ax.
To maintain historical accuracy as much as possible, bright red and auburn hair for the queens result in appearances similar to portraits of the women.
Sound director Janice Rivera and her crew use drums to herald strife and stringed instruments, choruses, crowd and animal noises in the background at critical moments to complement the show.
Even now, hundreds of years later, the interminable themes of man v. woman and who's in charge here? can be heard and seen today, echoing in courtrooms, state legislatures and found in daily (and hourly) news reports, including art reviews, like one recently in the Washington Post about the misognyist, Pablo Picasso.
Sam Beeson, John Barclay Burns, Paul Donahoe, Richard Fiske, Kirk Lambert, Sally Cusenza, and Lee Swanson are other cast members.
Production crew members also included Margaret Chapmen and Hilary Adams, producers and (Adams) dialect coach; Helen Bard-Sobola and Fred C. Lash, assistant producers; Kathleen Barth, director; Mia Amado and Jenna Dawkins, assistant directors.
Also, Dana Maksymova, stage manager; Lauren Markovich, assistant stage manager; Griffin Voltmann, dramaturg; Matt Liptak, set design; Julie Fischer, set construction; Luana Bossolo, set painting; Donna Reynolds, set decoration; Allison Gray-Mendes, properties; Matthew Cheney, lighting, Pam Leonowich, master electrician; Ian Claar, fight/intimacy choreographer; and Russell M. Wyland, rigging.
When: Now through May 13, 2023, Wednesday - Saturday nights, 8 p.m.; Sunday matinees, 3 p.m.
Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314
Tickets: $24 (Wed.- Fri.), $27 (Sat. and Sun.). Prices includes fees.
Masks are required in the auditorium and strongly encouraged but optional in other areas of the theatre.
Audience: For ages 13 and up.
Duration: About 3 hours with one 15 minute intermission
Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.
Parking: is free on the streets and at Capital One Bank at Wilkes and Washington streets, a block away. Paid parking is available at nearby garages.
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