I love a show that gets meta, and this is certainly a show about a show. There is something enjoyable about watching theatre that acknowledges it’s own theatricality, and The Spy Network makes good use of this concept to tell the story of one of Scotland’s most famous historical figures. Written by Neil Edwards and directed by Emily Bignell, the production follows Mary, (former) Queen of Scots, on the morning of her scheduled execution, where she meets actor Barnaby Fulke, who has been sent to provide some final entertainment before her death. Instead, Mary takes the opportunity to stage her own story, revisiting the spies, secrets, and betrayals that led her to this point.
This effective framing device allows the production to explore Mary’s story from her own perspective while also playing with the idea of history as something that is performed, remembered, and retold. Based on historical events and letters associated with Mary, the show takes us through religious persecution, espionage, and political conspiracy, as the plot surrounding the assassination of the Queen of England begins to unravel.
The production is carried by it’s three strong cast of Rachel Waters as Mary, Queen of Scots, Jaimie Bremner as Barnaby Fulke, and Livy Potter as Euston Valiant. All three take on multiple roles as the play within the play unfolds, regularly switching between characters with impressive ease. Potter is particularly strong as Euston, bringing a real sense of energy and intrigue to the role as the character becomes increasingly important to Mary’s story. The performers move between Scottish, Cockney, French, Northern, and RP accents with precision, creating distinct characters without making the transitions feel awkward.
The staging itself is deliberately simple. Laura Cordery’s production design uses a small number of props and a collection of costumes that are very effective. The clothing has the appearance of being historically appropriate without becoming overly elaborate, while also retaining the sense that these are costumes being brought out for a play within this play. Watching the actors pull pieces from a chest and transform themselves into different characters reinforces the production’s central idea brilliantly.
Cameron Naylor’s sound design and the production’s lighting support these transitions, helping distinguish between the “present” of Mary’s execution day and the historical events being recreated within the play. The technical elements never overwhelm the performers, instead providing a clear framework for the shifts between time periods and theatrical realities.
The show does take a little while to find its rhythm. The opening is comparatively a little slow, and I found my attention drifting slightly until the story really got going. Around the halfway point, the pace picks up considerably, and the developing conspiracy had me absolutely hooked. From there, the production builds towards a delicious final act, as the pieces of the story fall into place.
The Spy Network is very classically Fringe, being a small production with a simple set, a talented but small cast, and a story that relies primarily on the performers rather than a spectacle. It may not have the scale or polish of larger productions, but that intimacy is part of its charm. The production knows exactly what it’s trying to do, and the three performers ensure it’s accomplished with wonderful energy and theatricality that make the concept work.
Ultimately, The Spy Network is an enjoyable historical drama with a clever premise. It takes a familiar story and gives Mary, Queen of Scots an opportunity to reclaim her narrative, while it’s play-within-a-play structure allows the cast to explore their range through multiple characters and perspectives. While the production takes a little time to get going, it becomes increasingly gripping as the conspiracy unfolds.
The Spy Network runs from 17-29 August (except 23) at 1:50pm at the Thistle Theatre, Greenside @ Riddles Court.
Theatre Scotland 
Leave a comment