It’s easy to imagine Mary Todd Lincoln sitting in the Oval Office in the 1860s, supporting her husband through his presidency — not, say, drinking paint thinner for fun and then throwing it up. However, in “Oh Mary!,” a new Broadway play currently showing at the Lyceum Theatre, she does the latter and much more.
Actor and comedian Cole Escola wrote and stars in this comedy presenting a fictional retelling of the life of Mary through the Civil War up to Abraham Lincoln’s assassination. Escola — known for their solo comedy show “Help! I’m Stuck” and popular YouTube channel — draws on their own experiences in cabaret to perform in “Oh, Mary!”
Escola’s Mary is a neglected wife who turns to booze and cruelty in an attempt to suppress her boredom. She is gleefully evil and hilariously ignorant — she can’t even comprehend the deaths in the South caused by the Civil War. “The south of what?” she instead says. Her chaperone Louise (Bianca Leigh), hired by Abraham (Conrad Ricamora) to keep Mary busy, is often the victim of the first lady’s torment. Mary’s sole desire is to return to her premarital profession and one true love: performing original madcap medleys in a headlining cabaret act.
None of this happened in real life. Mary was never a cabaret performer, and, despite being institutionalized after her husband’s presidency, never displayed this erraticism. But Escola isn’t concerned with history — by adding twists to the real-life story of Mary Todd Lincoln, they make history fresh and comedic theater.
Furthering this silly mistelling of history, with Abraham’s traditional role as a strong leader during the war, Escola adds gay conflict. Abraham’s troubles begin while surreptitiously staring at the bent-over behind of his young male assistant Simon (Tony Macht).
The play zips through its plot without sacrificing comedy or clarity. Although presented in a series of blackouts, “Oh, Mary!” isn’t disjointed thanks to Escola’s attention to plot structure and character development. Each character undergoes their own well-defined arc within the central story of Mary’s acting career — for example, Abraham’s homosexuality builds from subtle to overt through multiple scenes with Simon.
Mary isn’t just a caricature used purely for comedy — Escola gives her depth as a dejected woman who gave up on love due to her marriage with Abraham.
Playing a complex character, Escola is an absolute powerhouse. They are always fully committed to the piece and their character, supporting the show’s comedic delivery as they dish out delightfully cruel insults and take full command of the stage. Escola especially excels when harassing Louise by pushing her downstairs and exposing her deepest secrets, but is also sympathetic when Mary reminisces on her lost dreams.
Escola’s writing, along with director Sam Pinkleton’s tight management of movement and pacing, stops the central actions from feeling milked or cliche. Instead of lingering on any single moment, which could easily lead to monotony, Pinkleton keeps the pace of the plot flowing and the jokes coming. He lets Mary’s emotional conflict shine but makes sure to cut the tension with comedy to keep a lighthearted tone and fast pace.
Escola sets the tone for the show, and the supporting cast does a great job supplementing their antics. Ricamora is a highlight, anchoring the president with complex motivations and raucous line deliveries. The cast navigates the tight balancing act between overly ridiculous and self-serious well, each lending a unique personality to the play.
Costume designer Holly Pierson’s campy costumes add an edge to the show, especially Mary’s magnificent hoop skirt that poofs and flops while she runs around the stage. The utilitarian set by dots, a design collective, allows Pinkleton to for frequent physical comedy — doors are slammed and characters frequently leap on top of the central table. The setting also transitions seamlessly from office to bar to theater as the show reaches its climax. And what a finish — “Oh, Mary!” ends with a bang, utilizing Escola’s talent in cabaret for an unhinged musical act that incorporates everything from the nursery rhyme “I’m a Little Teapot” to Barry Manilow’s “Copacabana.”
Comedy is often subjective, so it’s truly a wonder that “Oh, Mary!” gains so much cultural prevalence — from its sold-out run off-Broadway to breaking the Lyceum’s box-office record seven times. It’s a rapturous hit, full of great performances, witty yet heartfelt writing and some of the funniest jokes I’ve ever heard. Both a crowd pleaser and a technically sound play, “Oh, Mary!” succeeds thanks to Escola’s wild performance and focused writing. In the end, Escola and Mary are similar in another way: two brazen creatives unashamed to put out original art. Escola got their breakout with “Oh, Mary!” — let’s hope Mary got hers too.
Contact Ethan Li at [email protected].