If you tried to count the interesting creative decisions that have made their way into Scottish Ballet’s new production, you would run out of fingers in the first ten minutes. And then completely lose count by the half-hour mark. Co-creators Sophie Laplane and James Bonas may be at the helm of this remarkable ballet, but the entire collaborative team has let their imagination run wild. Stylistically, choreographically, musically and dramatically, 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. 

Astonishingly, this is Laplane’s first full-length ballet. As Scottish Ballet’s resident choreographer, she has created numerous short works and dance films, all of which suggested her potential for more. Well, that potential has been realised, and not only is Mary, Queen Of Scots the best thing Laplane has ever done, it’s one of the most visually captivating and emotionally arresting shows ever to emerge from the Scottish Ballet stable.

To detail all the clever costuming, set and lighting decisions here would not only take too long, but ruin the surprise for those yet to see it. Suffice to say the spider Mary embroidered during her time in captivity has been turned into one of the most memorable moments in dance; the spies sent by Elizabeth to Mary’s court give new meaning to the term ‘fly on the wall’; and you’ll never look at a balloon in the same way again.

Soutra Gilmour’s intelligent set and costumes, and Mikael Karlsson and Michael P Atkinson’s superb score are, of course, only half the story. Laplane’s beautiful movement, Bonas’ dramatic eye, and the dancers’ absolute embodiment of the characters are what take us over the line into emotional investment. From the corps de ballet’s energetic Scottish court (which switches chillingly from merriment to murder) and polite French aristocracy, to the major players in this real-life 16th-century saga, the stage is awash with human fragility. The decision to depict Queen Elizabeth I as both her younger and older self is inspired: one statuesque, the other heartbreakingly frail. 

Of course, we all know where this drama is heading (excuse the pun), and as the inevitable conclusion arrives, the atmosphere is electric. Seeing these two powerful women play out their destinies, as political and religious allegiances rage across Scotland and England, is deeply, deeply moving. At the constant behest of men and trying to avoid the violent mayhem that surrounds them, the rivalry between Mary and Elizabeth is shown through a new lens. Two proxies, dressed only in flesh-coloured underwear, dance a delicate duet, illustrating how beneath all the pomp, they were simply women trying to survive. While the scene where Elizabeth is forced to approve Mary’s beheading is fraught with painful indecision. 

Leading a truly stellar cast, guest artist Charlotta Öfverholm as older Elizabeth and Roseanna Leney as Mary bring strength and vulnerability to their roles. So often viewed merely as paintings on gallery walls and stories in history books, here they are depicted as real human beings. Watching their demise come ever closer is a rare and special moment of empathic, tear-inducing theatrical catharsis. Bravo to every single person, on-stage and off, who contributed to this masterpiece of modern ballet.

Mary, Queen Of Scots is on tour Wednesday 17 September–Saturday 18 October; reviewed at Festival Theatre, Edinburgh.