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Final week to see Mary Stuart on Broadway

“It’s hard not to be at least a little in love with — and more than a little in awe of — Janet McTeer and Harriet Walter, the very leading ladies in Phyllida Lloyd’s crackling, terrifically exciting revival of MARY STUART. 

A show that relentlessly keeps you on the edge on your seat.

— Ben Brantley, THE NEW YORK TIMES

FINAL WEEK TO SEE

JANET McTEER         HARRIET WALTER

IN THE DONMAR WAREHOUSE PRODUCTION OF

FRIEDRICH SCHILLER’S

MARY STUART

NEW VERSION BY PETER OSWALD

DIRECTED BY PHYLLIDA LLOYD

LIMITED RUN THROUGH SUNDAY, AUGUST 16 AT THE BROADHURST THEATRE

The Donmar Warehouse production of Friedrich Schiller’s MARY STUART, starring Janet McTeer as Mary, Queen of Scots and Harriet Walter as Elizabeth I, in a new version by Peter Oswald and directed by Phyllida Lloyd is now in the final week of its limited run on Broadway at the Broadhurst Theatre (235 West 44th Street).  The critically acclaimed production plays through Sunday, August 16 only.   

Seduction, greed and deception lie at the heart of the bitter rivalry between Mary, Queen of Scots (Janet McTeer) and her cousin, Elizabeth I (Harriet Walter) of England. After being implicated in her husband’s murder, Mary turns to Elizabeth for help but finds her cousin distrustful of her motives. Thus begins a bloody feud that will threaten not just their family bond, but the crown of England… MARY STUART tells the story of two iconic women whose lust for power reveals one of the most thrilling displays of passion and politics the world has ever seen.

Joining Ms. McTeer and Ms. Walter are Michael Countryman as Sir Amias Paulet; Adam Greer as O’Kelly; John Benjamin Hickey as Earl of Leicester; Michael Rudko as Count Aubespine/Melvil; Robert Stanton as William Davison; Maria Tucci as Hanna Kennedy; Chandler Williams as Mortimer; Nicholas Woodeson as Lord Burleigh and Brian Murray as Earl of Shrewsbury.   The company also features Jacqueline Antaramian, Tony Carlin, Monique Fowler and Guy Paul

The first Broadway production of MARY STUART in almost 40 years is produced by Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Mishkin.

The production is designed by Anthony Ward, with lighting by Hugh Vanstone and sound by Paul Arditti. 

The Donmar Warehouse production of MARY STUART played from July 14 through September 3, 2005.  It then transferred into London’s West End to the Apollo, where it was produced by Arielle Tepper Madover, ACT Productions, Neal Street Productions & Matthew Byam Shaw and played from October 7, 2005 to January 14, 2006.

Tickets are $69.50-$116.50.  Performances are Tuesday through Saturday at 8:00 PM, with matinees Wednesday and Saturday at 2:00 PM, Sunday at 3:00 PM.  Call Telecharge at 212-239-6200 or visit www.telecharge.com.

 www.MaryStuartOnBroadway.com  

Final four weeks to see Mary Stuart on Broadway

“It’s hard not to be at least a little in love with — and more than a little in awe of — Janet McTeer and Harriet Walter,

the very leading ladies in Phyllida Lloyd’s crackling, terrifically exciting revival of MARY STUART. 

A show that relentlessly keeps you on the edge on your seat.

— Ben Brantley, THE NEW YORK TIMES

FINAL FOUR WEEKS TO SEE

JANET McTEER         HARRIET WALTER

IN THE DONMAR WAREHOUSE PRODUCTION OF

FRIEDRICH SCHILLER’S

MARY STUART

NEW VERSION BY PETER OSWALD

DIRECTED BY PHYLLIDA LLOYD

LIMITED RUN THROUGH SUNDAY, AUGUST 16 AT THE BROADHURST THEATRE

The Donmar Warehouse production of Friedrich Schiller’s MARY STUART, starring Janet McTeer as Mary, Queen of Scots and Harriet Walter as Elizabeth I, in a new version by Peter Oswald and directed by Phyllida Lloyd is now in the final four weeks of its limited run on Broadway at the Broadhurst Theatre (235 West 44th Street).  The critically acclaimed production plays through Sunday, August 16 only.   

Seduction, greed and deception lie at the heart of the bitter rivalry between Mary, Queen of Scots (Janet McTeer) and her cousin, Elizabeth I (Harriet Walter) of England. After being implicated in her husband’s murder, Mary turns to Elizabeth for help but finds her cousin distrustful of her motives. Thus begins a bloody feud that will threaten not just their family bond, but the crown of England… MARY STUART tells the story of two iconic women whose lust for power reveals one of the most thrilling displays of passion and politics the world has ever seen.

Joining Ms. McTeer and Ms. Walter are Michael Countryman as Sir Amias Paulet; Adam Greer as O’Kelly; John Benjamin Hickey as Earl of Leicester; Michael Rudko as Count Aubespine/Melvil; Robert Stanton as William Davison; Maria Tucci as Hanna Kennedy; Chandler Williams as Mortimer; Nicholas Woodeson as Lord Burleigh and Brian Murray as Earl of Shrewsbury.   The company also features Jacqueline Antaramian, Tony Carlin, Monique Fowler and Guy Paul

The first Broadway production of MARY STUART in almost 40 years is produced by Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Mishkin.

The production is designed by Anthony Ward, with lighting by Hugh Vanstone and sound by Paul Arditti. 

The Donmar Warehouse production of MARY STUART played from July 14 through September 3, 2005.  It then transferred into London’s West End to the Apollo, where it was produced by Arielle Tepper Madover, ACT Productions, Neal Street Productions & Matthew Byam Shaw and played from October 7, 2005 to January 14, 2006.

Tickets are $69.50-$116.50.  Performances are Tuesday through Saturday at 8:00 PM, with matinees Wednesday and Saturday at 2:00 PM, Sunday at 3:00 PM.  Call Telecharge at 212-239-6200 or visit www.telecharge.com.

Mary Stuart star Janet McTeer receives Emmy nomination for “Into the Storm”

AN EMMY FOR CLEMMIE?

MARY STUART STAR JANET McTEER

NOMINATED FOR AN EMMY AWARD FOR HER PERFORMANCE

AS CLEMENTINE CHURCHILL IN HBO’S “INTO THE STORM”

MARY STUART star Janet McTeer received an Emmy Award nomination this morning for Outstanding Supporting Actress in a Miniseries or Movie for her performance as Clementine Churchill in HBO’s “Into the Storm”.   The Emmy Awards will be presented on September 20. 

The Donmar Warehouse production of Friedrich Schiller’s MARY STUART, in a new version by Peter Oswald and directed by Phyllida Lloyd is playing at the Broadhurst Theatre (235 West 44th Street) through August 16 only.   The production stars Janet McTeer as Mary, Queen of Scots and Harriet Walter as Elizabeth I.

Seduction, greed and deception lie at the heart of the bitter rivalry between Mary, Queen of Scots (Janet McTeer) and her cousin, Elizabeth I (Harriet Walter) of England. After being implicated in her husband’s murder, Mary turns to Elizabeth for help but finds her cousin distrustful of her motives. Thus begins a bloody feud that will threaten not just their family bond, but the crown of England… MARY STUART tells the story of two iconic women whose lust for power reveals one of the most thrilling displays of passion and politics the world has ever seen.

Joining Ms. McTeer and Ms. Walter are Michael Countryman as Sir Amias Paulet; Adam Greer as O’Kelly; John Benjamin Hickey as Earl of Leicester; Michael Rudko as Count Aubespine/Melvil; Robert Stanton as William Davison; Maria Tucci as Hanna Kennedy; Chandler Williams as Mortimer; Nicholas Woodeson as Lord Burleigh and Brian Murray as Earl of Shrewsbury.   The company also features Jacqueline Antaramian, Tony Carlin, Monique Fowler and Guy Paul

The first Broadway production of MARY STUART in almost 40 years is produced by Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Mishkin.

The production is designed by Anthony Ward, with lighting by Hugh Vanstone and sound by Paul Arditti. 

The Donmar Warehouse production of MARY STUART played from July 14 through September 3, 2005.  It then transferred into London’s West End to the Apollo, where it was produced by Arielle Tepper Madover, ACT Productions, Neal Street Productions & Matthew Byam Shaw and played from October 7, 2005 to January 14, 2006.

Tickets are $69.50-$116.50.  Performances are Tuesday through Saturday at 8:00 PM, with matinees Wednesday and Saturday at 2:00 PM, Sunday at 3:00 PM.  Call Telecharge at 212-239-6200 or visit www.telecharge.com.

BROADWAY’S MARY STUART IN THE NEWS

BROADWAY’S MARY STUART

IN THE NEWS

 

The Donmar Warehouse production of Friedrich Schiller’s MARY STUART, in a new version by Peter Oswald and directed by Phyllida Lloyd, opened on Sunday, April 19 at the Broadhurst Theatre (235 West 44th Street).  The production stars Janet McTeer as Mary, Queen of Scots and Harriet Walter as Queen Elizabeth I. 

 

The production, which received rave reviews from critics, is nominated for seven Tony Awards, including Revival of a Play, Actress in a Play (Janet McTeer, Harriet Walter) and Director of a Play (Phyllida Lloyd).  McTeer is also the winner of the 2009 Drama Desk Award for Actress in a Play for her performance. 

 

Here are some recent stories featuring the production:

 

Associated Press

Queen to Queen: McTeer, Walter talk Tonys and more

By Douglas J. Rowe

 

Queen to Queen’s sofa. Your move.

 

Janet McTeer and Harriet Walter bookend the couch in McTeer’s dressing room. The two British actresses are both nominated for best actress Tony Awards, and while they’re both pleased by the honor, neither likes the idea of competing.

 

“It’s not nice. It’s no fun,” McTeer says. “But we would, both of us, absolutely adore if Phyllida got one, because she’s a genius.”

 

She’s, of course, talking about Phyllida Lloyd, the director of the critically acclaimed Broadway drama, Mary Stuart.

 

Walter plays England’s Queen Elizabeth I and McTeer the title role of Mary, Queen of Scots.  McTeer has already picked up this year’s Drama Desk Award for her portrayal of the doomed Mary, and she has a Tony for her performance in A Doll’s House, in 1997.

 

To read the complete article, click here: http://www.google.com/hostednews/ap/article/ALeqM5iuH7eRzP_XBmIiL5SA5HKjwvrK5wD98IGAVO0

 

New York Magazine

Command Performances

As the Queen of Scots or Mrs. Churchill, Janet McTeer demands attention.

By Jesse Green

 

A Broadway beheading was never such a high as it is for Janet McTeer in the title role of Mary Stuart. Though the Scots queen has been imprisoned, rained upon for twelve solid minutes, and sentenced to death, she goes to the ax happily, beaming with faith. “And since I am still her when I come offstage,” says the strapping McTeer, “that happiness comes with me—at least until I fall asleep two hours later.”

 

Great performances are forged in the tension between an actor’s sufficiency and insufficiency: Janet McTeer is clearly not Mary Stuart, and yet, for those three hours, eight times a week, Mary Stuart can only be Janet McTeer. To turn what could easily have been a botch into a triumph (McTeer is up for her second Tony award in June) takes technique—and then “years of practice” to make it disappear. “You should be able to do it like driving a car,” she says—or like a plane whose wheels retract after takeoff.

 

To read the complete article, click here:

http://nymag.com/arts/theater/features/56906/

 

 

New York Times

Forget the Ingénues; Cue the Grown-Ups

By Patti Cohen

 

In Mary Stuart the British stage actress Harriet Walter, 58, is the 16th century’s most powerful woman, Queen Elizabeth, while Janet McTeer, 48, is her nemesis — roles that have earned them both nominations for best actress at the Tony Awards.

 

In film “women’s roles on the whole are defined in terms of their family relationship to the hero,” Ms. Walter said from her basement dressing room at the Broadhurst Theater, not far from a tank that collects the 400 gallons of water it takes to produce an onstage thunderstorm. “They are the wife, the girlfriend, the mother, the daughter. Rather than being the center of their own story, they’re usually a planet revolving around a male figure.”

 

“It’s not that you want the big central roles necessarily,” she continued. “It’s just that you want your person to have a life outside, to be a complex three-dimensional person who isn’t just there to offset somebody else or fulfill a function in the story.”

 

To read the complete article, click on the following link:

http://www.nytimes.com/2009/05/24/theater/24cohe.html?scp=1&sq=Cue%20the%20Ingenues&st=cse

 

 

The Leonard Lopate Show, WNYC Radio

Girls and Women

 

The new production of Mary Stuart is the first Broadway revival of the show in 40 years and we’re joined by two of its stars: Janet McTeer and Harriet Walter.

 

To listen to the interview, click on the following link:

http://www.wnyc.org/shows/lopate/episodes/2009/05/22

 

 

Bergen Record

A water-drenched speech

By Bob Feldberg

 

Sometimes, a scene in a show, or a performance, hits you in a certain way.

 

It may have something to do with excellence, but it needn’t. It’s just a moment that jumps out and plants itself in your brain, to stay.

 

As a fond farewell to the 2008-09 Broadway theater season, here are some of my memorable moments:

 

In Mary Stuart, rain falls in one of the key dramatic scenes. But it isn’t that showery kind of precipitation you sometimes see in a production.

 

This is a downpour, a drenching, flooding rain. And as a soaked-to-the-skin Janet McTeer, playing Mary, Queen of Scots, delivers her most intense speech of the evening, you wonder whether she’ll finish it before contracting pneumonia.

 

To read the complete article, click here:

http://www.northjersey.com/entertainment/stage/Feldberg_A_water-drenched_speech_and_gender-bending_flair.html

 

 

Backstage

Tony Talk

A roundtable chat about craft and career with six nominees for Broadway’s biggest honor

By Simi Horowitz

 

Back Stage: Was there ever an artistic turning point when you saw the approach to acting in a new light?

Harriet Walter: One of the moments that unlocked something for me was a production of All’s Well That Ends Well. In England I did it with Peggy Ashcroft. She was in her 70s, and I was in my late 20s, early 30s. It was a difficult part for me and I was working myself up to tears and torment—the right state to be in for that character—while Peggy Ashcroft would be sitting calmly in her chair, getting the little details right, like where her bag was going to be placed. Her performance was so simple and so immediately direct and there was no fuss. And I remember her saying, “The audience doesn’t really know if you’re crying. Just get to that moment in the play, and you’ll reach it when you reach it. You’re taking yourself out of the time of the play if you’re trying to cook yourself up into something.” She started that lesson that I’m learning every night: that I just sit and receive and exist in the moment. But it takes 30 years to get there. It was a lesson of peeling away, simplifying, and not putting yourself and your angst in the way of communicating.

 

To read the complete article, click here:

http://www.backstage.com/bso/news-and-features-features/tony-talk-1003977682.story?imw=Y

 

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www.MaryStuartOnBroadway.com 

 

 

HIGHLIGHTS OF A STAR-FILLED 08-09 BROADWAY SEASON

2008-2009 Broadway Season Officially Ends

 

HIGHLIGHTS OF AN HISTORIC STAR-FILLED YEAR,

PACKED WITH PLAYS,  INCLUDES: 

 

The Seagull • A Man For All Seasons •  To Be Or Not To Be • All My Sons • White Christmas 

 Shrek •  Pal Joey •  Soul of Shaolin•  The American Plan  • Hedda Gabler •  33 Variations 

God Of Carnage •  Impressionism •  Exit The King • Mary Stuart •  The Norman Conquests 

The Philanthropist • Accent on Youth •  Waiting for Godot 

 

as well as the stars:

Joan Allen •  Matthew Broderick •  Stockard Channing    Jeff Daniels   Hope Davis

Jane Fonda    Sutton Foster   James Gandolfini •  John Glover •  John Goodman

Colin Hanks   Marcia Gay Harden • Katie Holmes   Jeremy Irons  •  Bill Irwin

Brian d’Arcy James   Nathan Lane •   Frank Langella John Lithgow   Samantha Mathis

Jan Maxwell   Janet McTeer •  Mary Loiuse Parker    David Hyde Pierce

Lily Rabe  David Rasche   Matthew Risch     Mercedes Ruehl    Geoffrey Rush

Susan Sarandon •  Peter Sarsgaard   Christopher Sieber  Kristin Scott Thomas

Harriet Walter • Steven Weber •  Dianne Wiest   Patrick Wilson

 

Visit the link below for a 2.5 minute glance back at the stars and shows this season

www.youtube.com/watch?v=dZ1ZH2TZNT8

 

 

Here are some highlights from the season. 

 

This was one of the busiest, starriest and eclectic Broadway seasons in years, featuring productions and performances that will make it one to remember.   Starting in October with The Seagull starring Kristin Scott Thomas and Peter Sarsgaard, through last night’s Roundabout Theatre Company revival of Waiting for Godot starring Nathan Lane, Bill Irwin, John Goodman and John Glover, 43 productions have opened on Broadway, including 10 new musicals, nine new plays, four musical revivals, 16 play revivals and five “special events.” 

 

Fall kicked off with the Royal Court’s acclaimed production of Chekhov’s The Seagull directed Ian Rickson, examining the romantic entanglements and regrets of a group of artists gathered on a Russian estate. 

 

Roundabout Theatre Company began autumn exploring politics, religion and power with Frank Langella in A Man for All Seasons directed by Doug Hughes, and wrapped up 2008 with Stockard Channing , Martha Plimpton  and Matthew Risch in Pal Joey, directed by Joe Mantello.  Ibsen’s Hedda Gabler starring Mary Louise Parker rang in the new year at Roundabout, in an adaptation by Christopher Shinn.

 

 

Arthur Miller’s All My Sons, asked audiences to reexamine the costs of war when it returned to Broadway this fall, directed by Simon McBurney and starring John Lithgow, Patrick Wilson, Dianne Wiest and Katie Holmes. 

 

Snow fell early on Broadway when Irving Berlin’s White Christmas, a new stage adaptation of the classic film, opened in November starring Stephen Bogardus, Kerry O’Malley, Jeffry Denman and Meredith Patterson, featuring direction by Tony Award winner Walter Bobbie and choreography by Randy Skinner.

 

The Great White Way saw green in December when Shrek The Musical landed at the Broadway Theatre starring Brian d’Arcy James as the loveable ogre and Sutton Foster as Princess Fiona. Also starring Daniel Breaker, Christopher Sieber and John Tartaglia, the new musical is directed by Jason Moore and written by David Lindsay Abaire (book & lyrics) and Jeanine Tesori (musical) with choreography by Josh Prince.   Flying monks were spotted a few blocks south when Soul of Shaolin played a limited run at the Minskoff.

 

Manhattan Theatre Club opened their season with To Be Or Not to Be, directed by Casey Nicholaw and began the new year in the Catskill Mountains of the 1960s with Richard Greenberg’s The American Plan starring Mercedes Ruehl and Lily Rabe.  They wrapped up their season with Samuel Raphaelson’s on-and-off stage love story, Accent on Youth starring David Hyde Pierce and directed by Daniel Sullivan.

 

This spring, Jane Fonda returned to Broadway after 46 years to confront an obsession with Beethoven and to settle with her on stage daughter played by Samantha Mathis in Moisés Kaufman’s 33 Variations, alongside Colin Hanks and Zach Grenier.  Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden tried to make nice (and failed) in Yasmina Reza’s comedy God of Carnage directed by Matthew Warchus.  Jeremy Irons and Joan Allen returned to Broadway after long absences to star in Michael Jacobs’ examination of art and love in Impressionism, directed by Tony Award-winner Jack O’Brien.

 

Fictitious monarchs Geoffrey Rush, Susan Sarandon, and Lauren Ambrose – and unappreciated servant Andrea Martin – added their regal presence to the Rialto in Eugene Ionesco’s Exit the King under the direction of Broadway newcomer Neil Armfield.  Historic British royalty was welcomed when Harriet Walter and Janet McTeer took to the stage in the Donmar Warehouse production of Mary Stuart, directed by Phyllida Lloyd.  And The Norman Conquests, Alan Ayckbourn’s trilogy, showcased a somewhat more middle class group of Brits, helmed by the busy Matthew Warchus.

 

Christopher Hampton’s The Philanthropist , directed by David Grindley and starring Matthew Broderick and Steven Weber, looked at the empty, insular lives of college intellectuals.  Appropriately closing the season is Samuel Beckett’s historic Waiting for Godot starring Nathan Lane, Bill Irwin, John Goodman and John Glover, and directed by Anthony Page.  It tells of two seemingly homeless men waiting for someone or something to explain life’s meaning – which, of course, never shows up.  Vladimir and Estragon might be relieved to know that as of yesterday, this year’s season has arrived at its end.

 

Please visit the link below for a 2.5 minute long glance back at the stars and shows this season  www.youtube.com/watch?v=dZ1ZH2TZNT8

 

 

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MARY STUART STAR HARRIET WALTER AT DRAMA BOOK SHOP ON MAY 4

MARY STUART STAR
HARRIET WALTER
TO APPEAR AT DRAMA BOOK SHOP ON MAY 4

WALTER DISCUSSES ACCLAIMED PRODUCTION

OF SCHILLER’S CLASSIC PLAY AND HER BOOK, OTHER PEOPLE’S SHOES,

WITH THEATERMANIA’S DAVID FINKLE

Harriet Walter, who stars as Elizabeth I in the acclaimed new Broadway production of Friedrich Schiller’s MARY STUART, will speak on Monday, May 4 at 6:00 PM at The Drama Book Shop (250 West 40th Street).  In a conversation with TheaterMania’s chief theatre critic David Finkle, Walter will discuss her guide for actors, Other People’s Shoes, as well as the praised new version of Schiller’s MARY STUART, written by Peter Oswald.  The event is free and open to the public.  Seats are available on a first come, first served basis. 

Harriet Walter, considered one of England’s greatest classical actresses, is a three-time Olivier Award winner for her performances in Twelfth Night, A Question of Geography  and Three Sisters. Her film credits include the Academy Award-nominated Atonement, Babel and Sense & Sensibility.

Walter stars opposite Janet McTeer as Mary, Queen of Scots in the Donmar Warehouse production of MARY STUART, in a new version by Peter Oswald and directed by Phyllida Lloyd.  The production is playing at the Broadhurst Theatre (235 West 44th Street) for a limited engagement through August 16. 

Seduction, greed and deception lie at the heart of the bitter rivalry between Mary, Queen of Scots (Janet McTeer) and her cousin, Elizabeth I (Harriet Walter) of England. After being implicated in her husband’s murder, Mary turns to Elizabeth for help but finds her cousin distrustful of her motives. Thus begins a bloody feud that will threaten not just their family bond, but the crown of England… MARY STUART tells the story of two iconic women whose lust for power reveals one of the most thrilling displays of passion and politics the world has ever seen.

Joining Ms. McTeer and Ms. Walter, are Michael Countryman as Sir Amias Paulet; Adam Greer as O’Kelly; John Benjamin Hickey as Earl of Leicester; Michael Rudko as Count Aubespine/Melvil; Robert Stanton as William Davison; Maria Tucci as Hanna Kennedy; Chandler Williams as Mortimer; Nicholas Woodeson as Lord Burleigh and Brian Murray as Earl of Shrewsbury.   The company also features Jacqueline Antaramian, Tony Carlin, Monique Fowler and Guy Paul

The first Broadway production of MARY STUART in almost 40 years is produced by Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Miskin.

The production is designed by Anthony Ward, with lighting by Hugh Vanstone and sound by Paul Arditti. 

The Donmar Warehouse production of MARY STUART played from July 14 through September 3, 2005.  It then transferred into London’s West End to the Apollo, where it was produced by Arielle Tepper Madover, ACT Productions, Neal Street Productions & Matthew Byam Shaw and played from October 7, 2005 to January 14, 2006.

Tickets are $69.50-$116.50.  Performances are Tuesday through Saturday at 8:00 PM, with matinees Wednesday and Saturday at 2:00 PM, Sunday at 3:00 PM.  Call Telecharge at 212-239-6200 or visit www.telecharge.com.

www.MaryStuartOnBroadway.com  

MARY STUART DESIGNER ANTHONY WARD FEATURED ON W.COM

 

ANTHONY WARD FEATURED ON W.COM

 

 

EDITOR’S BLOG

MARY STUART: COSTUME DRAMA DRAMA

 

Once in a while, something nifty can come of reduced circumstances. Such is the case with the stunningly stripped-down new production of Mary Stuart at the Broadhurst Theater, which I saw right before it opened to rave reviews on Sunday. Faced with a budget that wouldn’t allow for full-on Elizabethan excess, British costume and set designer Anthony Ward opted to outfit only the play’s two queens in period dress. The guys-and there’s a veritable horde of them-merely wear business suits. In other words, there’s no Jonathan Rhys Meyers equivalent trotting around in gonzo Tudor finery. And though it’s a bit jarring at first, the juxtaposition of creaky versus modern totally works. 

 

According to Ward, who was also responsible for the look of the original London production at the Donmar Warehouse, budget constraints even dictated the limited number of costume changes for female leads Janet McTeer (Mary Queen of Scots) and Harriet Walter (Elizabeth). In total, Elizabeth wears just three gowns, and Mary just two. What few dresses they do wear aren’t piled with jewels either. For Mary, who has been ruthlessly liberated from all earthly treasures and imprisoned for nearly 20 years when the play opens, bijoux simply aren’t an option. But even the all-powerful Elizabeth isn’t all rocked-out. Rather, for much of the first act, Ward lets a gown of Chinese brocade create the grandeur. “It’s like a gold medallion on a black duchesse satin,” he explains. “You get that notion of clusters of jewels, but in a rather simple way.”

 

To read the complete article, please click on the following link:

http://www.wmagazine.com/w/blogs/editorsblog/2009/04/22/once-in-a-while-something.htm?printable=true

 

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www.MaryStuartOnBroadway.com

BROADWAY’S MARY STUART IN THE NEWS

BROADWAY’S MARY STUART

IN THE NEWS

 

The Donmar Warehouse production of Friedrich Schiller’s MARY STUART, in a new version by Peter Oswald and directed by Phyllida Lloyd, opened on Sunday, April 19 at the Broadhurst Theatre.  The production stars Janet McTeer as Mary, Queen of Scots and Harriet Walter as Queen Elizabeth I.  The production, which received rave reviews from critics yesterday, has also been making headlines. 

 

Here are some recent stories about the production:

 

New York Times

Battling Divas of History: It’s Acting Folks

By Patrick Healy

Sunday, April 19

 

As Elizabeth I might have said, let us dispense forthwith on the matter of catfights. While Elizabeth and her cousin Mary Stuart are in bloody battle on Broadway this spring in Friedrich Schiller’s “Mary Stuart,” are the actresses in those roles – Harriet Walter and Janet McTeer – actually getting along?

 

It’s hard to tell from an orchestra seat at the Broadhurst Theater, given how viciously the women rip into each other over three hours of re-enacting one of the most famous family feuds in royal history. “Mary Stuart,” which opens Sunday, is one of the relatively rare plays that offer two equally powerhouse roles for actresses, and Elizabeth’s and Mary’s competing desire for attention – from male courtiers, from England, from each other – has many theatergoers assuming that the rivalry must spill over offstage.

 

During a recent visit with these two British veterans of the London stage, it did not escape notice that the dressing room of Ms. McTeer, whose Mary, Queen of Scots, is the heroine of the play, was on the ground floor of the Broadhurst while Ms. Walter’s was one floor below. Yet from the first words of the interview, the bravura onstage hostilities slipped out of mind.

 

“If you’re lucky enough to be offered lovely leading roles, you very rarely get to work with actresses you put on pedestals because you’re usually in competition for the same role,” Ms. McTeer said. “But this was a chance to work with Hattie. I’ve loved her forever; she’s always on a bit of a pedestal.”

 

“Not anymore,” Ms. Walter replied playfully, a wink to the way Mary, in the play and in history, takes on Elizabeth.

 

 

NYTimes.com

A Queen’s Rain

Audio slide show produced by Erik Piepenburg

 

A backstage look at the mechanics of the simulated storm in the play “Mary Stuart.”

 

 

Bergen Record

Story of the ultimate family conflict returns to Broadway

By Robert Feldberg

Sunday, April 19

 

“What are the chances of a 209-year-old German play making it on Broadway?

 

With “Mary Stuart,” you’d have to say it has a shot.

 

Friedrich Schiller’s historical drama, about the battle of wills between England’s Elizabeth I and Mary, Queen of Scots against a backdrop of court intrigue, has been revived on Broadway before over the centuries – including a repertory engagement in 1900 – but none of the runs lasted very long.

 

This production, however, arrives bearing glowing reviews and success in London, as well as its two acclaimed British stars, Janet McTeer (Mary) and Harriet Walter (Elizabeth).

 

During a recent joint interview in McTeer’s dressing room at the Broadhurst Theatre, where the play opens today, Walter said she believes one reason for the play’s appeal is its contemporary resonance.

 

“There are endless references to the country’s security,” she said. “It was paramount. Because of fear, people sacrificed their integrity and their liberality.”

 

 

 

Wall Street Journal

From ‘Mamma’ to Mary

After a global box-office smash, a director returns to the stage

By Ellen Gamerman

Friday, April 17

 

“Mary Stuart,” a nearly three-hour drama about the rivalry between Elizabeth I and Mary Queen of Scots written by a German playwright more than 200 years ago, does not sound like the most likely follow-up project for the director of the Broadway musical and movie megahit, “Mamma Mia!”

 

But Phyllida Lloyd, whose 2008 summer blockbuster based around music from the Swedish pop group ABBA became the highest-grossing movie worldwide by a female director, is returning to the classical work that she says defines her. “Mary Stuart” opens Sunday at the Broadhurst Theatre in New York.

 

“To me, the standards and the vision and the ambition for ‘Mamma Mia!’ are exactly the same” as for “Mary Stuart,” Ms. Lloyd says. “The goals are the same: to create something that will make a difference.”

 

 

Broadway.com

Q&A with Janet McTeer

By Kathy Henderson

 

One of the many arresting images in the current Broadway production of Mary Stuart is Janet McTeer (as the title character, Mary Queen of Scots) standing center-stage surrounded by six men in modern-day business suits. Although she’s a prisoner, garbed in a plain period dress, and they are royal courtiers, McTeer’s Mary is by far the most powerful person on the stage. “Regal” doesn’t begin to describe the 6′ 1″ British actress, known to Broadway audiences for her Tony Award-winning performance as Nora in the 1997 revival of Ibsen’s A Doll’s House. Since then, McTeer has nabbed a Best Actress Oscar nomination (for Tumbleweeds, in which she assumed a spot-on Southern accent) and continued winning raves on the London stage for productions ranging from God of Carnage (in the role Marcia Gay Harden is playing on Broadway) to an all-female Taming of the Shrew (as Petruchio). Chatting during previews in her stage-side dressing room at the Broadhurst Theatre, the 47-year-old actress brushed away talk of theatrical awards and spoke generously about the other Broadway shows she’s been devouring since arriving in New York.

What’s it like to do Mary Stuart on Broadway four years after your London run?
It’s going incredibly well. I don’t think I’ve ever worked with a cast that is (a) so good and (b) so gorgeous [laughs]. We’ve got new people and new relationships, so it’s a completely different experience.

Elizabeth is a bigger part than Mary. Why did you choose to play the title role?
Two reasons really. They’re both sensational parts, but I thought, “In 10 years’ time I’ll be too old to play Mary, so I might as well do it now.” Also, if you’re lucky enough to be a leading actress, you hardly ever get to work with other actresses you admire. Either you’re playing the Duchess of Malfi or they are. So this was a chance, if I played Mary, to get to work with Harriet [Walter as Elizabeth], one of the actresses I had looked up to for a very long time.

What’s the appeal of Mary Stuart for a modern audience?
It’s more than a historical drama, it’s a mammoth, tense thriller about the politics of being in prison, who’s going to do what to whom, and whether Mary can free herself. Instead of pulling out the differences between Elizabeth and Mary in this production, we’ve tried to pull out the similarities. I start out in short hair and a black frock, and Elizabeth ends up in short hair and a black frock. She starts out glamorous and I end up glamorous-the idea being that although I lose the political power struggle and she wins, personally speaking, I win and she loses. Even though it’s a classical play, it’s very exciting and very modern.

 

 

Playbill

Queen to Queen: Reinventing Schiller’s Mary Stuart

By Ruth Leon

April issue       

Mary Stuart, Friedrich Schiller’s 1800 drama about England’s Queen Elizabeth I and Mary, Queen of Scots confounds all those complaints about there being no roles for actresses “of a certain age” (read: over 25). This recent transfer from London’s West End, currently playing at the Broadhurst Theatre, provides two.

They are inhabited by two of Britain’s favorite stage actors, neither of whom seems to have any problem finding suitable roles on either side of the Atlantic: Harriet Walter (Elizabeth) was last on Broadway with the Royal Shakespeare Company’s wildly successful All’s Well That Ends Well in 1983 and received the Evening Standard Best Actress Award in 2005 for this performance in Mary Stuart, and Janet McTeer (Mary) won a Tony Award in 1997 as Best Actress for her Nora in Ibsen’s A Doll’s House. Both are, by any measure, the real thing, experienced and much-loved performers at the top of their game, and thrilled to be back in New York with a fine supporting cast of American actors in a great play.

 

The Huffington Post

Making Torture Lawful

By Allison Silver

Tuesday, April 21

 

“The argument is being played out in front of us.

 

Dark deeds were done at the leader’s behest, to achieve desirable, even honorable, goals. The nation’s security and stability depend on this, and terrorism and national upheaval averted. So, though unlawful, it all seems necessary. The leader clearly wants it — and is asking agents to do it. Accepting public responsibility, however, is another matter.

 

But this is not about torture and the Bush administration’s use of “enhanced” interrogation methods that were outside of U.S. law and the Geneva Conventions. This is not about the wide array of unlawful actions that the Bush team asserted were vital to save the United States from another Al Qaeda attack.

 

Instead, this is a play, Mary Stuart, written in 1800 by Friedrich Schiller, the German playwright and poet. This riveting drama, which just opened on Broadway to glowing reviews presents a powerful tale: Queen Elizabeth I clearly wants her cousin, Mary Stuart killed, but doesn’t want to be held responsible. She wants it done — without having her fingerprints on it.”

 

 

Opening Night Coverage

Playbill On Opening Night

Broadway.com Opening Night Video Feature

Broadway.com Opening Night Photo Op

Broadway.TV Opening Night Video Feature

BroadwayWorld.com Photo Coverage

TheaterMania Opening Night Photo Coverage

 

 

Tickets for MARY STUART are available through Telecharge at 212-239-6200, through www.telecharge,com or at the Broadhurst Theatre box office (235 West 44th Street).  The production plays a limited run through Sunday, August 16.

 

 

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www.MaryStuartOnBroadway.com

2008-2009 DRAMA LEAGUE AWARD NOMINATIONS

2008-2009 DRAMA LEAGUE AWARD NOMINATIONS

 

Nominations for the 75th annual Drama League Awards, celebrating excellence in Broadway and Off-Broadway theatre, were announced this morning.

 

 

33 VARIATIONS has been nominated for Distinguished Production of a Play (Moisés Kaufman) and Distinguished Performance Award (Jane Fonda).

 

 

ACCENT ON YOUTH has been nominated for a Distinguished Performance Award (David Hyde Pierce).

 

 

ALL MY SONS has been nominated for a Distinguished Performance Award (Patrick Wilson), as well as an honor for previous Distinguished Performance Award winner John Lithgow.

 

 

THE CRIPPLE OF INISHMAAN has been nominated Distinguished Revival of a Play (Garry Hynes) and Distinguished Performance Award (David Pearse).

 

 

DISTRACTED has been nominated for Distinguished Performance Award (Cynthia Nixon).

 

 

EXIT THE KING has been nominated for Distinguished Revival of a Play and two Distinguished Performance Awards  (Geoffrey Rush and Susan Sarandon).

 

 

GOD OF CARNAGE has been nominated for Distinguished Production of a Play and two nominations for the Distinguished Performance Award (Marcia Gay Harden and James Gandolfini).

 

 

MARY STUART has been nominated Distinguished Revival of a Play and two Distinguished Performance Awards (Janet McTeer, Harriet Walter).

 

 

THE NORMAN CONQUESTS has been nominated for Distinguished Revival of a Play and Distinguished Performance Award (Ben Miles).

 

 

PAL JOEY has been nominated for Distinguished Revival of a Musical and Distinguished Performance Award (Martha Plimpton).

 

 

RUINED has been nominated for Distinguished Production of a Play (Lynn Nottage) and Distinguished Performance Award (Saidah Arrika Ekulona).

 

 

THE SEAGULL has been nominated for Distinguished Revival of a Play and Distinguished Performance Award (Kristin Scott Thomas).  

 

 

SHREK THE MUSICAL has been nominated for Distinguished Production of a Musical and two Distinguished Performance  Awards (Sutton Foster , Christopher Sieber).

 

 

WAITING FOR GODOT has been nominated for two Distinguished Performance Awards  (John Glover , Bill Irwin).

 

 

Not for profit company nominations:

 

ATLANTIC THEATER COMPANY has been honored with two nominations for THE CRIPPLE OF INISHMAAN.

 

 

MANHATAN THEATRE CLUB productions have been honored with three nominations including two for RUINED and one for ACCENT ON YOUTH.

 

 

ROUNDABOUT THEATRE COMPANY productions have been honored with five nominations including two for WAITING FOR GODOT, two for PAL JOEY and onefor DISTRACTED. In addition past recipients of the Distinguished Performance Award will be honored on the dais for their work this season which includes: Stockard Channing (PAL JOEY), Frank Langella (A MAN FOR ALL SEASONS) and Mary-Louise Parker (HEDDA GABLER). 

 

 

 TO READ THE COMPLETE LIST OF NOMINEES, VISIT: http://tinyurl.com/c7f89a

CRITICS LOSE THEIR HEADS OVER MARY STUART

CRITICS LOSE THEIR HEADS OVER

JANET McTEER AND HARRIET WALTER IN
MARY STUART

THE DONMAR WAREHOUSE PRODUCTION OF THE CLASSIC

FRIEDRICH SCHILLER PLAY, IN A NEW VERSION BY PETER OSWALD

AND DIRECTED BY PHYLLIDA LLOYD, OPENS TO RAVES

The Donmar Warehouse Production of Friedrich Schiller’s MARY STUART, in a new version by Peter Oswald and directed by Phyllida Lloyd and starring Janet McTeer and Harriet Walter, opened last night on Broadway at the Broadhurst Theatre.   

Here are the links to the reviews of the production: 

Ben Brantley, New York Times

http://theater2.nytimes.com/2009/04/20/theater/reviews/20mary.html?ref=arts

“You can argue all you like, as historians and theologians have for centuries, about which of them has the greater claim to the English throne. But after seeing the terrifically exciting new production of Friedrich Schiller’s “Mary Stuart,” which opened Sunday night at the Broadhurst Theater, you won’t doubt that both the queens it portrays are born to rule. So, I might add, are the actresses who play them.

That would be Janet McTeer, as Mary Queen of Scots, and Harriet Walter, as Elizabeth I. And they embody what may be the most storied rivalry in English history with a transfixing willfulness and devious artistry that could easily make the susceptible lose their heads. This being the year of our Lord 2009, no such sacrifices will be demanded literally. But it’s hard not to be at least a little in love with – and more than a little in awe of – the very leading ladies in Phyllida Lloyd’s crackling revival (first seen at the Donmar Warehouse in London) of this 1800 tragedy of double-dealing politics.

The classical combination of strengths, weakness and circumstance that define tragic heroes has seldom been parsed with such flash, vigor and lacerating insight.”

Elisabeth Vincentelli, New York Post

http://www.nypost.com/seven/04202009/entertainment/theater/queens_for_any_day_165301.htm

“Spring has brought plenty of hyped shows and stars to Broadway. But don’t let those high- wattage marquees blind you to this sleeper, which delivers plenty more thrills than most of its neighbors.

A London import as gripping as it is elegant, “Mary Stuart” is packed with political machinations, mind games and rhetorical bouts about justice and power. Think of it as “Frost/Nixon” with women, beheadings and ruffs.

Joe Dziemianowicz, Daily News

http://www.nydailynews.com/entertainment/arts/2009/04/20/2009-04-20_a_family_battle_royal_in_mary_stuart.html

“What to do about that pesky cousin? Behead her? Have her killed? Let her rot in jail?

Those questions face Elizabeth I in “Mary Stuart,” now on Broadway in a bold revival from London’s Donmar Warehouse. Friedrich Schiller’s drama, adapted by Peter Oswald, depicts shifting loyalties by all the queens’ men, but this slice of history is all about the leading ladies.

With Tony winner Janet ­McTeer (“A Doll’s House”) as Mary and Harriet Walter as Elizabeth, who signed her rival’s death warrant, there’s a pair of powerhouses on the thrones of Scotland and England.”

Linda Winer, Newsday

http://www.newsday.com/entertainment/stage/ny-etstu2012670671apr18,0,4181778.story

“Just when you think you’re catching up with this speedway of a Broadway spring season, along comes a real stunner to move the finish line again. How thrilling.

“Mary Stuart,” which opened last night in a production from London’s Donmar Warehouse, is a riveting showcase for Janet McTeer and Harriet Walter – two towering actresses in a monumentally entertaining regina smackdown.

But this is more than just a star vehicle about the deadly collision of the Protestant Elizabeth I and Mary, the Catholic Queen of Scotland. Phyllida Lloyd, the director known here only for “Mamma, Mia!,” has staged Peter Oswald’s taut three-hour compression of Friedrich Schiller’s massive 1800 drama with all the visceral, unpredictable psychology of a popular page-turner.”

Mike Kuchwara, Associated Press

http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2009/04/19/entertainment/e160010D25.DTL

“It’s quite a faceoff.

“Mary Stuart” superbly explores the link between Elizabeth I and Mary, Queen of Scots, royal relatives locked in a grim battle that only one can win. But what elevates this adaptation of Friedrich Schiller’s venerable play to even greater heights are the thrilling performances of the actresses who portray these formidable ladies: Janet McTeer as Mary and Harriet Walter as Elizabeth.

The suspense is palpable despite the fact we know how the play will end. Credit director Phyllida Lloyd and adapter Peter Oswald, who have created a taut tale of political intrigue, a bruising contest in which the prize is England itself.

The men have been particularly well cast, creating credible, individualistic performances in roles that could become a blur. Among the more memorable portraits are Brian Murray’s commonsense Shrewsbury, a man infused with a generosity of spirit, and John Benjamin Hickey as Shrewsbury’s polar opposite, the duplicitous, calculating Leicester. An intense Chandler Williams also scores as Mortimer, an ardent young supporter of Mary.

But the women are the main focus here, and when the two queens finally meet in Act 2 after an artfully prolonged build-up, the fireworks are more than royal. Call them electrifying, lifting this version of “Mary Stuart” into the realm of high-powered, classic drama.”

David Rooney, Variety

http://www.variety.com/VE1117940074.html

“Phyllida Lloyd’s steely revival of the Friedrich Schiller play simmers and scalds as it should, but it’s the deft balance of the parallel tragedies of two imprisoned queens that makes the production so enthralling. . . .

 Just as Christopher Hampton did with “The Seagull” earlier this season, Peter Oswald’s new version vigorously shakes the dust off the Schiller text. This is no stodgy history lesson but a juicy regal smackdown rendered in direct, muscular language .

This is a superbly focused production that permits no distractions from the antithetical arcs of its heroines, or the political machinations that shape their tragedies.”

Robert Feldberg, Bergen Record

http://www.northjersey.com/entertainment/stage/43262762.html?page=all

“The revival of Friedrich Schiller’s 1800 play “Mary Stuart” is vibrant, audacious and, as the plots are hatched that will send Mary to the gallows, improbably funny. This alchemy is the result of a charged and witty adaptation by Peter Oswald, imaginative direction by Phyllida Lloyd and glorious performances by Janet McTeer (Mary) and Harriet Walter (Elizabeth).”

John Simon, Bloomberg News

http://www.bloomberg.com/apps/news?pid=20601088&sid=acVEPFlholUw&refer=muse

“The acting is properly timeless.  Janet McTeer is a thoroughly believable Mary: handsome, beautifully spoken, and almost acrobatically agile. Harriet Walter’s Elizabeth shuttles provocatively between starchiness and giddiness, grandeur and ultimate forlornness

And let us not overlook the unscripted rain — the wettest and most real ever staged — to make you fear for the drenched actors’ health. Above all, it is nice to see — whatever kept England and Scotland apart — the English and American theaters so seamlessly blended.”

Frank Scheck, Hollywood Reporter

http://www.hollywoodreporter.com/hr/film-reviews/theater-review-mary-stuart-1003964062.story

“Friedrich von Schiller’s 1800 historical drama of royal intrigue comes to blazing life in director Phyllida Lloyd’s staging, imported to Broadway after hugely acclaimed stints at London’s Donmar Warehouse and on the West End. Starring Janet McTeer and Harriet Walter, both making far-too-belated returns to the New York stage, “Mary Stuart” looks to be the prestige hit of the spring season.

Walter and McTeer deliver superbly riveting performances. The former is all tight control, gradually peeling away Elizabeth’s formidable reserve to display the deep anguish caused by her immense responsibilities, and the latter provides an emotive, vigorous turn that emphasizes Mary’s passion, both physical and emotional.

The male players, newly cast for this American production, provide sterling support, with particularly vivid turns by John Benjamin Hickey as the scheming Leicester, Brian Murray as the sympathetic Shrewsbury and Nicholas Woodeson as the calculating Lord Burleigh.”

David Cote, Time Out New York

http://newyork.timeout.com/articles/theater/73697/mary-stuart-at-broadhurst-theatre-theater-review

“Five Stars!  This is a juicy historical drama about two glamorous divas going at it hammer and tongs.  Director Phyllida Lloyd Lloyd and her sublime leading ladies ensure that our sympathies keep ping-ponging until the very end. When I caught the original, more intimate staging at London’s Donmar Warehouse in 2005, the action felt weighted toward beleaguered, pious Mary and against the coolly manipulative Elizabeth. Here, however, there’s no imbalance. In one scene our hearts break for the magnificently hot-blooded McTeer; in the next Walter shows us how she too is just as trapped and desperate. Neither woman is purely a victim, but neither are they political free agents. The look of barely contained desolation on Walter’s face in the final moments of the play-as Elizabeth emerges the winner-is chilling beyond words.

John Lahr, The New Yorker

http://www.newyorker.com/arts/critics/theatre/2009/04/27/090427crth_theatre_lahr

“The excellent support of John Benjamin Hickey, Chandler Williams, and Nicholas Woodeson as backbiting Tudor courtiers in Friedrich Schiller’s 1800 play “Mary Stuart” (at the Broadhurst, in an outstanding new version by Peter Oswald) gives a special wallop to the evening’s main event: the showdown between the Catholic Mary, Queen of Scots (the strapping Janet McTeer), against Queen Elizabeth I (the fine-boned Harriet Walter). “Mary Stuart” is an exercise in eloquence and intrigue. McTeer and Walter are British actors of exemplary intelligence and sinew. They are alert and articulate; they parse every nuance of every word. The political pragmatism may be predictable, but the theatrical pyrotechnics with which it’s displayed are exceptional.”

www.MaryStuartOnBroadway.com