Mary Said What She Said @ Adelaide Festival, Adelaide 7/3/2026
Théâtre de la Ville-Paris production of Mary Said What She Said arrives at the Adelaide Festival with quiet fervour.
Written by Darryl Pinckney, and directed by the late Robert Wilson, the play is an extended monologue spoken by Mary, Queen of Scots (Isabelle Huppert) on the eve of her execution in 1587. Following years of imprisonment at the hands of her cousin Elizabeth I, Mary reflects on the tumultuous path that brought her to this point. She remembers her childhood at the French court, her brief reign as Queen of France, her problematic sovereignty in Scotland, her relationships, and the religious and political waves that ultimately damaged her rule.
The typical marks of an elaborate production are ne’er to be seen. There is no elaborate set or lively cast. Instead, for ninety minutes, the stage belongs to one woman’s story. Relying on light, haze, stillness and a phenomenal performance by Huppert to deliver the story, Mary Said What She Said successfully achieves grandeur through minimalism.
Wilson’s direction combines all theatrical elements to form a concise and intriguing production. The lighting design, also by Wilson, and sound design by Nick Sagar, are anchored by the music of Ludovico Einaudi. Soundscapes drift through the performance like distant echoes as stark, binary lighting resonates the mood. Einaudi’s score deepens the contemplation that surrounds Mary’s final reflections.
Jacques Reynaud’s costume design also plays it part in forming the visual world. Huppert wears a stylised gown that evokes royalty but allows the character, rather than the pageantry of monarchy, to take centre stage.
The role of Mary is a mammoth task to undertake, yet Huppert rises to the occasion with staggering stamina. Every gesture, whether a head turn or arm raise, is controlled. Her delivery shifts from restrained introspection to rapid bursts of speech that feel almost musical. She commands the stage with a flawless performance.
The production is performed in French with English surtitles. At times, Huppert speaks at such speed that the text changes before the eye catches every line. It is perhaps the only frustration in an otherwise riveting experience. Nonetheless, even when a sentence is missed, the emotional intention remains clear.
When all is said and done, what emerges is less a historical drama than a consideration of memory, identity, and power.
In an age of technical spectacle, Mary Said What She Said proves that theatre can still be mesmerising with little more than a single voice and a story worth telling.
And in the hands of Isabelle Huppert, that voice is unforgettable.
Adelaide Festival Review By Anita Kertes