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The Snow Queen

27 Nov 2025 – 31 Jan 2026
Wee Nutcracker

12 – 24 Dec 2025
Starstruck

16 Apr – 9 May 2026
Emergence

10 Sep – 3 Oct 2026

Mary, Queen of Scots

2025

Two women. Two crowns. One story. As death approaches, Elizabeth I of England is haunted by memories – real and imagined – of her cousin, Mary, Queen of Scots.

This major new production from Scottish Ballet’s choreographer-in-residence Sophie Laplane and co-creator, James Bonas (The Crucible), draws on the complex relationship between Mary, Queen of Scots and Elizabeth I of England. Laplane’s bold choreography blends classicism with modernity, reshaping a familiar story with powerful originality.

Soutra Gilmour’s striking, contemporary set is complemented by dazzling costumes that capture the grandeur of the era, with nods to haute couture and punk. New music, by the team behind 2022 hit Coppélia, is performed live by the Scottish Ballet Orchestra.

An iconic story, unconventionally told, adding to the canon of rich, contemporary repertoire that is uniquely Scottish Ballet.

Last performed: Mary, Queen of Scots was last performed in Autumn 2025 on a Scotland tour following its World Premiere at Edinburgh International Festival 2025.

For current productions, visit our What’s On page.

Scottish Ballet premiere: August 2025 (World Premiere)

Choreographer & Co-creator: Sophie Laplane
Director & Co-creator: James Bonas
Music: Mikael Karlsson & Michael P Atkinson
Set & Costume Designer: Soutra Gilmour
Lighting Designer: Bonnie Beecher
Projection & Video Designer: Anouar Brissel 

Trailer

★★★★★

‘One of the most visually captivating and emotionally arresting shows ever to emerge from the Scottish Ballet stable.‘Mary, Queen Of Scots isn’t just a gift that keeps on giving, it’s like a game of pass-the-parcel with a fascinating new layer to unwrap every few minutes. Bravo to every single person, on-stage and off, who contributed to this masterpiece of modern ballet’

The List (Kelly Apter)

★★★★★

‘Wow! I’m already dying to see it again. Complex, riveting, baffling at times but never less than stunning, it’s a great addition to the company’s repertoire

Bachtrack (Kathy Elgin)

★★★★★

‘With bold imagery, adventurous storytelling, and incredible performances Mary, Queen of Scots is an exhilarating modern ballet and a true masterpiece.

Broadway World (Natalie O’Donoghue)

★★★★★

‘Scottish Ballet have done it yet again – produced a new work which leaves me speechless, groping helplessly for words with which to express how incredible it is

ScotsGay Arts (Mary Woodward)

Synopsis

Act I

It is Queen Elizabeth I’s last day alive. Early in the morning, she dances alone as snow falls. Memories overwhelm her. The past comes into the present: two women in power, cousins, friends who never met, but became rivals and enemies. We follow her story.

In France, Mary Stewart marries the Dauphin, son of Catherine de Medici. They are presented at court. Death appears in the form of a jester, skipping through time and memory.

Mary grieves the death of her husband and asks Catherine for comfort but is brutally rejected.

Mary must now leave France. She is heartbroken. Four women in attendance, all named Mary, comfort her and travel with her to her new home in Scotland.

A new friend and adviser arrives. Rizzio, a musician and entertainer. He brings light to Mary’s life. Together with the four Marys, they set sail across the northern sea.

The English court: powerful, strict, controlled. Men dance for Elizabeth. Henry Darnley stands out. Elizabeth favours him and plans for his future. She is left alone with her spymaster, Walsingham.

Elizabeth gives her orders to Walsingham. His spies appear – messengers, coders, plotters, listeners – he sends them out across the land carrying secret messages like birds of prey.

Meanwhile, Scotland celebrates its new Queen. Mary is joyful, loved, and full of promise. But Walsingham’s spies are watching. Rizzio guards Mary closely as she dances with the court. Through the crowd, a man enters on his knees – it is Darnley.

Darnley is handsome, vain and proud. Mary is strong, dominant and powerful. They make a striking pair. Spies lurk in the shadows.

In England, Elizabeth walks her dog in her gardens. Walsingham follows. His spies deliver messages from Scotland.

Mary, Darnley, and Rizzio play a light, childish game. Mary leaves, and the game between the two men changes from playful to urgent. An affair begins.

Time moves on. Mary is pregnant. The affair is discovered. Elizabeth knows everything. A reckoning is coming.

The lords, led by Darnley, have grown to hate Rizzio, who has long stood between them and Mary. They burst in. Violence follows. Rizzio is murdered.

Act II

After Rizzio’s murder, Mary is broken. Darnley, drunk, tries to control her. He accuses her of infidelity and says the child is not his. Mary fights back. She transforms and Darnley is consumed. As he dies, her son is born. James.

Mary holds her baby. Elizabeth imagines having a child of her own.

In Scotland, the court turns on Mary. She is paraded through Edinburgh, accused of Darnley’s murder. She escapes to England, where Elizabeth is sure to help. Elizabeth hears the news of Darnley’s death.

Hundreds of letters pass between Elizabeth and Mary. They know each other well – cousins, rivals, each a danger to the other. Letters connect them yet keep them apart. When Mary reaches out for sanctuary, Elizabeth arrests her.

Elizabeth is now the sole Queen in power. But treachery and betrayal surround her.

The end approaches. Mary is imprisoned but still plotting. Now an adult, her son James pledges loyalty to Elizabeth. Walsingham sets his traps, and Mary’s plots are uncovered; Elizabeth’s reign is threatened. Coded letters are broken. Mary’s guilt is proven. Elizabeth’s hand is forced. Mary must die.

Elizabeth is old and unshaken – the Virgin Queen once more. Mary faces her end with courage and precision. Three blows of the axe and she is gone, but her end is also her beginning.

Gallery

A person in beige dancewear performs on stage, lying on their side with arms and legs extended upward, reaching towards falling white confetti against a black background.
Two ballet dancers perform on stage. The male dancer, dressed in a light costume, supports the female dancer in a black dress and ballet shoes as they pose gracefully against a dark, minimal background.
Two male dancers perform an expressive contemporary routine on stage, one wearing a striped black outfit and the other in white, their arms intertwined and faces showing intense emotion against a dark background.
Three actors perform on stage in dramatic costumes. One, dressed in white, stands on tiptoe and leans forward shouting, while another, in black, kneels before them. A third actor in a voluminous dress stands in the background, watching.
Four actors perform on stage. Three wear elaborate, pale theatrical costumes; one is stacked above the other, and the third appears to fall forward. A fourth actor in dark clothes stands to the left, watching.
A performer in a light, ruffled outfit and pointe shoes stands on stage holding a dog on a leash, with a man dressed in black in the background, against a dark backdrop.
A ballet dancer in a corset-style costume and pointe shoes performs onstage, standing on one leg with one arm extended and the other hand touching their neck, against a plain background.
A dancer in a bright green costume and pointed hat balances on one leg with the other leg extended high behind her on a dark stage.
Seven dancers in nude costumes kneel and extend their arms upward on stage, casting a dramatic, large spider-like shadow on a plain white wall behind them. The scene is minimalistic and theatrical.
Two dancers in nude costumes lean their heads together, eyes closed, with two other performers in the background—one in black and one in an elaborate cream outfit—against a minimal stage setup.
Two performers in ancient warrior-style costumes and helmets stand side by side, holding decorative fans with orange and black accents, against a purple-lit background.
A performer with curly hair stands on stage in a beige, corset-like costume, holding a black pom-pom aloft. Blue stage lighting and mist create a dramatic backdrop.
A woman with short red hair wearing a black dress performs dramatically on stage, with expressive hand gestures and a focused expression, against a dark, smoky background.
A dancer in elaborate Elizabethan-style costume with red hair raises one hand and holds a paper, standing against a dark background.
A man in a black outfit stands center stage with one arm bent at shoulder height, palm down, as three dancers in black costumes and headpieces pose similarly behind him under dramatic lighting.
Four women in matching dark costumes with ruffled collars and hats look worried as they face a hooded figure in black. The women stand close together, some holding each other, on a dimly lit stage.
A performer in an elaborate Elizabethan gown and ruffled collar stands center stage, surrounded by dancers in black costumes reaching towards her under dramatic lighting and smoky blue background.
A group of dancers dressed in black, wearing masks, move in a dynamic formation on stage. A man stands above them, arms outstretched, while a woman in a white, ornate costume stands apart, gazing toward the group.
A group of dancers performs on stage, with one central performer in silver dress standing with arms outstretched, surrounded by dancers in dynamic poses under dramatic lighting.
Two dancers wearing tan, punk inspired tan costumes and headdresses leap into the air on stage, facing each other with dramatic poses against a dark, minimalist background.
A dancer wearing a neon green outfit sits on the floor, holding one leg extended and balancing on the other, with one arm raised. A green cone-shaped hat is on the floor nearby, against a dark blue background.
Two ballet dancers perform on stage; one dancer in a silver, ruffled costume and pink pointe shoes stands poised, while the other in a black dress kneels beside them, both dramatically lit against a dark background.
A ballet dancer in a beige costume with structured skirt stands center stage, surrounded by male dancers wearing beige headpieces and holding black props, all striking dramatic poses against a dark backdrop.
Two ballet dancers in nude leotards pose back-to-back on stage, arms gracefully extended. Behind them, two performers stand in separate lit compartments, wearing black and white costumes and watching the dancers.
Four dancers pose together on a dark stage, creating a unified, geometric shape. The central performer wears a metallic, futuristic outfit, while the others wear black costumes with structured silver accents, enhancing the dramatic effect.
A dancer in a bright green costume and hat performs a graceful ballet pose on stage, balancing on one leg with the other leg and arms extended. The background is dark, highlighting the performer.
Two ballet dancers perform on stage in dramatic pose; one dancer leans back supported by the other. Both wear contemporary costumes in black and white, and the stage background is dark.
A person dressed in black stands on stage, while another with dramatic white face makeup and orange hair leans from behind them, both extending one arm forward as if pointing or reaching. The background is dark and minimal.
Two female ballet dancers in nude costumes face each other, touching hands. In the background, two other dancers stand near a wall, one in a structured white skirt.
A woman in a black dress walks away as a man in white dance attire falls dramatically to the floor, with one leg bent upward, on a dimly lit stage.

Behind-the-scenes

The Making of Mary, Queen of Scots

Beginners Call: An Audio Introduction to Mary, Queen of Scots

Get ready for Mary, Queen of Scots before attending the performance. Listen to our FREE audio synopsis, music and interview with Scottish Ballet dancers Roseanna Leney and Harvey Littlefield.