April 20 (Bloomberg) -- Two of England’s premier actresses, Janet McTeer and Harriet Walter, have returned Friedrich Schiller’s “Mary Stuart” to Broadway after a 40-year absence. Once again two queens -- Elizabeth of England and Mary of Scotland -- are locked in mortal conflict where there is room for only one. One head must roll for the other one to rule.

Schiller clearly sympathized with Mary and disliked Elizabeth (whom he viewed as false and pharisaical), yet both emerge as credible human beings: Mary is no plaster saint, Elizabeth no dyed-in-the-wool villain.

For this, credit Shakespeare, from whom Schiller learned a lot about historical drama and whose “Macbeth” he had just adapted for the German stage. Obvious evil versus angelic perfection is not the way to go; black and white each must accommodate some gray.

Similarly, the persons surrounding the two royals, whether promoting the axe or, for diverse reasons, pushing for Mary’s freeing, are equally rich in ambiguities, making for good theater, however fanciful history.

Indeed, “Mary Stuart” written in 1800, is as unhistorical as a history play can get (Schiller in this, too, emulating Shakespeare). And now the German’s five-act tragedy has been severely pruned by Peter Oswald, omitting some subsidiary characters, simplifying the language and turning much of Schiller’s verse into prose.

Holy Rollers?

So Oswald’s Earl of Shrewsbury, one of Mary’s champions, now leaves Elizabeth with, “Forgive me, I am too old to serve you, I lack the necessary flexibility.” Whereas the original has it: “Forgive, I am too old/ And this straightforward hand, it is too stiff/ To seal your latest doings with approval.”

In German, this is a grand, classical play, depending more on poetic recitation than on stage action. Phyllida Lloyd, the director, has deconcertized it, inserting a fair number of tussles and wallows, allowing both queens some demeanor and vocalizing more appropriate to Holy Rollers or fans of “American Idol.” Sometimes this relieves, sometimes it clashes.

Anthony Ward has cut down on scenery and updated the costumes. Though the queens have outfits that cannily blend past and present, everyone else might just have walked in from the street. The unit set, peculiar dark brick walls plus one narrow bench running almost the length of the back, must do for indoors and out, prison and throne room.

Timeless Acting

The acting, however, is properly timeless. McTeer is a thoroughly believable Mary: handsome, beautifully spoken, and almost acrobatically agile. Walter’s Elizabeth shuttles provocatively between starchiness and giddiness, grandeur and ultimate forlornness.

There are fine performances in support as well, notably from Nicholas Woodeson, Brian Murray, Michael Countryman, Chandler Williams and John Benjamin Hickey. Hugh Vanstone’s lighting couldn’t be more dramatic. And let us not overlook the unscripted rain -- the wettest and most real ever staged -- to make you fear for the drenched actors’ health. Above all, it is nice to see -- whatever kept England and Scotland apart -- the English and American theaters so seamlessly blended.

At the Broadhurst Theatre, 235 W. 44th St. Information: +1- 212-239-6200; http://www.marystuartonbroadway.com. Rating: ***-1/2

What the Stars Mean:
****       Excellent
***        Good
**         Average
*          Poor
(No stars) Worthless

(John Simon is the New York drama critic for Bloomberg News. The opinions expressed are his own.)

To contact the writer of this column: John Simon in New York at jis1925@aol.com.

Last Updated: April 19, 2009 22:30 EDT