STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Different but the same
GORDON PARSONS sees an imagined confrontation between Queen Elizabeth I and the jailed Mary Queen of Scots which reveals them as equally confined by personal and political traumas
Juliet Stevenson (centre)
[Manuel Harlan]
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
Mary Stuart
Duke of York Theatre, London
WE ARE all prisoners of our own personalities and of history and no-one understood this better than Friedrich Schiller, widely regarded as Germany’s Shakespeare.
His epic historical drama Mary Stuart, transferred from the Almeida theatre to the West End, focuses on the tragic conflict between the Catholic Mary Queen of Scots and England’s Protestant Queen Elizabeth.
The complex family web of the Tudors left Mary with a valid claim to the English crown in the event of Elizabeth’s death and was consequently a rallying point for Catholic dissidents.
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