A whirlwind of chaotic energy and ahistorical mischief has blown onto the London stage. Cole Escola's Broadway sensation 'Oh Mary!' has officially opened at the Trafalgar Theatre, offering a deliriously queer and subversive take on a famous First Lady that is nothing like your history textbook.
A Monstrous, Captivating Creation
The historical figure of Mary Todd Lincoln has long been debated. Was she a supportive partner or a social liability? Cole Escola's play gleefully ignores all scholarly debate, inventing a version of Mary who is a melodramatic, childish, and monstrously self-absorbed force of nature. In this London production, the role is taken on by non-binary actor Mason Alexander Park, who brings the dark, frenetic energy of a 'crinolined poltergeist' to the part. Their Mary smashes up the presidential office in a frantic search for hidden gin, her black ringlets flying, utterly refusing the dull duties of being a dignified First Lady.
Opposite Park, Giles Terera delivers a witty, sleek performance as President Abraham Lincoln. He captures the hypocrisy of a man who married an interesting woman only to try and stifle her spirit, all while being consumed by the Civil War. Mary, however, is fighting her own battle: a desperate campaign to return to her former life as a boozy cabaret star, regardless of a nation in ruins.
Fizzing Wit and Jarring Darkness
Escola's writing bursts with confidence and brash, crude humour, especially in the play's early scenes. The stage becomes Mary's personal playground, and watching her wreak havoc is a sheer delight. Moments of unexpected tenderness peek through, such as when this profoundly lonely woman cradles a tasselled cushion like a doll. Yet these are sharply contrasted with scenes of jarring darkness, including one particularly memorable and messy moment involving a bucket that is best left undescribed.
The production is masterfully punctuated by total blackouts between scenes, which feel like a theatrical mic drop. The soundscape clashes uproarious audience laughter with melodramatic, Victorian-style piano chords, daring you to ever take this story seriously.
A Subversive Message Wrapped in Frivolity
While packed with queer, silly twists that shouldn't be spoiled, the play carries a resonant core message: repression creates monsters. Mary, prevented from expressing herself, transforms into a twisted creature bent on revenge. Similarly, Lincoln's attempts to bury his private secrets only raise the stakes for when the truth inevitably emerges.
It's easy to understand why the show became a Broadway favourite. 'Oh Mary!' carves out its own unique genre, blending the farcical tone of classics like 'Charley's Aunt' with the disturbing, queer energy of early John Waters films. The relentless pace does dip slightly in its final moments of the 80-minute runtime, culminating in a glitzy finale that edges towards showboating. But then again, commanding the spotlight is entirely Mary's prerogative. Like a consummate drag queen milking every last drop of laughter from an audience, this fabulous theatrical confection has thoroughly earned its standing ovation.
