June 11th brought with it a windfall of invitations to some very New York events. Apparently, it was a night fit for a queen or, more accurately, queens. I had to choose between an event at the NYPL with Queen Noor of Jordan, an evening of theater seeing MARY STUART at the Broadhurst Theater or a gala benefit foramFAR hosted by a different sort of queen, “Lady Bunny.”
Despite the unique appeal of each event, I had to choose just one. I went with MARY STUART, because I can’t pass up a good Elizabethan drama. I arrived in Times Square directly from work and was still emailing from my Blackberry. Since I had enough time to spare, I took advantage of the new lawn chairs in the middle of Broadway and finished up the last of my emails sitting on a lawn chair right in the middle of the square.
By the time MARY STUART started, my exhaustion hit and despite the intriguing story line, it was a struggle for me to stay awake at first. But then I hit a point (and a second wind) where I was swept away in the language, the rhythm, lyrical dialogue and powerhouse acting of Janet McTeer (as Mary Stuart) and Harriet Walter (as Queen Elizabeth). They truly deserve the title of theater royalty.
Earlier this theater season I saw another member of theater royalty when actor Frank Langella starred in A MAN FOR ALL SEASONS. Though I am a fan of Langella’s work, SEASONS didn’t stir my emotions the way MARY STUART did. SEASONS gave us a portrait of a complicated and multi-layered man, something we’re used to seeing so much in theater that now it’s a bit old and overplayed. MARY on the other hand, was fluid, intriguing and dynamic. Perhaps this is because we don’t see many women on stage represented as complicated and multi-layered, especially during the time period of MARY.
The big second act rain/rebirth scene left me feeling like I’d witnessed one of those moments in live theater that people talk about for decades; it felt like a privilege. It also perfectly illustrates what I love about live theater: it’s a moment shared intimately by the actors and the audience. It only happens once, and, though it’s played out again and again, night after night, it’s always different. The audience gasps when the mists of rain suddenly come down and I wonder if that same reaction happens nightly. I wonder if rhythms in the character’s big monologues change, if the energy is different, how the theater smells (always a combination of upholstery and women’s perfume), if someone dropped a line, changed the order, missed their mark or is so caught up in the scene, they almost forget to breathe. Such elements can rearrange the molecules of a production leaving a mark like DNA, one that can never be duplicated — it’s there and it’s gone in an instant.
But no matter which night you go and which performance you see, the words are intact, the meaning translated; the audience moved. Just like the moment the rain appears on stage (whether you are surprised or not at its appearance), I gasp when I think of the singularity of what I’ve witnessed and how it can never be completely captured in that way and on that stage again. I suppose that also holds true for any of the other events I could have attended that evening, but MARY STUART captured my spirit. And in witnessing that performance, my very molecules were rearranged.