The much-hyped Broadway transfer of Cole Escola's 'Oh, Mary!' has opened at London's Trafalgar Theatre, bringing its irreverent and lewd take on American history to the West End. The play, which reimagines First Lady Mary Todd Lincoln as a drunken cabaret aspirant and President Abraham Lincoln as a closeted homosexual, promises uproarious black comedy but has left at least one critic decidedly cold.
A Camp and Chaotic Historical Send-Up
Billed as a revisionist farce, the plot centres on Mary's life in the lead-up to Abraham's assassination. The original New York production starred writer Cole Escola in the titular role, but for this London run, Mason Alexander Park takes on the part of the obstreperous lush. They are joined by Giles Terera as the Civil War-president husband, with Dino Fetscher and Oliver Stockley as figures from Abraham's romantic past and present.
Directed by Sam Pinkleton, the production is described as broad, loud, and crowd-pleasingly obvious. The set, designed by the collective dots, features classic farce elements like multiple slamming doors. However, the humour is frequently cited as puerile, relying on easy gags involving vomit, revealed bloomers, and sexual desperation that some may find more exhausting than exhilarating.
Style Over Substance?
Despite the show's Tony awards pedigree and a cast of proven talent, the critique suggests the material fails to deliver meaningful satire. The programme notes indicate the retro naffness and cartoonish stereotypes are deliberate, yet the play is accused of squandering its opportunity for sharp social observation or acid critique.
Notably, Escola has admitted undertaking 'no research' into Mary Todd Lincoln's life, which raises questions about the depth of this 'revisionist' take. The narrative focuses more on the dramas of the men surrounding Mary, rendering the First Lady herself as a largely repulsive figure mocked by other characters. This approach leaves little room to explore how history may have shaped or constrained her.
Wasted Talent and a Muted Finale
A particular point of contention is the use of the cast's abilities. Mason Alexander Park, celebrated for their musical theatre prowess in productions like Jamie Lloyd's The Tempest, is given a slapstick role that culminates in a song medley. Critics argue this finale never becomes dramatically potent enough to let their 'glorious voice' truly shine, feeling like a missed opportunity.
The play's 90-minute runtime is described as overheated and sophomoric, potentially exhausting for some despite the enthusiastic reception from many in the audience on the night. While the room reportedly lapped up the pantomime spirit, the critique laments a lack of genuine story, character development, wit, or wonder.
'Oh, Mary!' runs at the Trafalgar Theatre in London until 25 April. It remains a divisive proposition: a Broadway sensation that delivers camp chaos and obvious jokes, but one that may leave those seeking sharper historical satire or nuanced comedy wanting far more.
