by Friedrich Schiller / 2016, Embassy Theatre, Central / Adapted and directed by Ben Naylor / Associate direction by Liraz Chamami and Anna Healey / Set design by Max Dorey / Costume design by Chantelle Gerrard / Lighting by Joshua Gadsby / Sound by David Hermann / Fight direction by Rachel Bown-Williams
For this production of Schiller’s masterpiece, I wrote the adaptation myself, in verse (or rather, moving between iambic pentameters, free verse and occasional prose), working from the 1801 translation by Schiller’s friend Joseph Mellish. And I was lucky enough to make the production with some brilliant friends of my own, and a student cast who excelled themselves and my own high expectations.
We were making this production during the run-up to the EU referendum of June 2016, and in the immediate aftermath of the result. The play’s particular resonance at that moment was much on my mind; I took the unusual step, for me, of writing a programme note. Since it still expresses much of how I feel about the production and its timeliness, I’ll reproduce it here:
As so often in theatre, events conspired to retroactively bestow political significance on this year’s choice of production for MA Acting, rather than the choice deliberately responding to events. When in the winter I settled on Mary Stuart, as with every play selection for MAAC students, it was with the specific character and skills of this year’s cohort in mind, rather than to make any overt political statement.
Working on the adaptation in the early Spring, I was certainly mindful of the fact that we would be rehearsing during the immediate aftermath of the EU referendum; though like most of us, I in no way anticipated the outcome, nor its extreme effects on our political life. On the 24th June, though, at the end of our first week of rehearsal, lines which I had written without particular notice of their contemporary relevance suddenly stood out as direct responses to the new political world we found ourselves inhabiting.
This need not be surprising; after all, the play concerns historical issues, personalities and events which directly relate to this summer’s upheaval: the ‘Auld Alliance’ between Scotland and France; the Stuart dynasty whose political project was Union and yet whose excesses led to the Civil War and the establishment of Parliamentary sovereignty; the geopolitical relationship of Protestant England and Catholic Europe; and the political expediency of English isolationism at a time when the continent was racked by schism and conflict.
While my own allegiances are, like most of the artistic and academic community’s, firmly on the side of remaining in the European Union, this adaptation of Schiller’s great political drama attempts to make no simplistic argument; it is, I hope, a discussion and examination of some of the issues at stake, rather than being didactic. The play is also, after all, a high Romantic tragedy, concerned with personality and psychology as much as with politics or philosophy.
But in making this production, I couldn’t escape the play’s quintessentially European nature: a German play about Scots, French and English characters, written by the very poet whose ‘Ode to Joy’ has been repurposed as the anthem of the European Union. For me, it is as much an homage to our shared European history and sensibility as it is a lament for what I hope will be but a momentary madness, in forgetting that we all share a destiny too.
BN, July 2016
Production trailer, made by Peter Wilkinson of Blind Crow Pictures:
Photography by Patrick Baldwin