London Welcomes ‘Oh, Mary!’: A Bold Reimagining of Mary Todd Lincoln

A provocative new play, Oh, Mary!, opens in London’s West End on March 15, 2024, bringing an audacious reimagining of Mary Todd Lincoln to the stage. The production portrays the former First Lady as a flamboyant, intoxicated figure, indifferent to the turmoil of the American Civil War and instead focused on her ambition to become a cabaret star. Following a successful run in New York, the show has garnered attention, with some even dubbing it “the new Hamilton.”

The 80-minute one-act play, written by Cole Escola, who also stars as Mary, received critical acclaim in New York, including two Tony Awards for Best Leading Actor and Best Director. The show attracted a star-studded audience that featured notable figures such as Steven Spielberg, Sally Field, and Meryl Streep, highlighting its cultural impact.

Escola’s journey with the character began in 2009, when they pondered in an email: “What if Abe’s assassination wasn’t such a bad thing for Mary?” The premise sparked a creative process that aimed for humor rather than strict historical accuracy. “I wanted to make the stupidest, funniest thing possible,” Escola stated on the Run-Through with Vogue podcast. They caution audiences not to rely on the show for factual history, emphasizing the entertainment value instead.

The play’s depiction of Mary Todd Lincoln reflects her historical reputation for extravagance and emotional volatility. A telegram once sent to President Lincoln stated, “Please come collect your wife, she’s making a fool of herself at this party,” illustrating the societal pressures she faced. Mason Alexander Park, who will take over the role in London, expressed their connection to the character’s struggles for recognition and success, saying, “Everybody knows what it’s like to feel stilted or stuck.”

Critics and audiences alike are curious how Oh, Mary! will resonate with British theatre-goers. The play combines elements of satire with contemporary themes, which could appeal to a wide audience. Catherine Clinton, a historian and author of *Mrs. Lincoln: A Life*, remarked that the play encourages a fresh perspective on Mary Lincoln, noting, “Anything that prompts a new look at Mary Lincoln gets my endorsement.”

The production’s success may hinge on its ability to engage with British audiences, who have shown a fondness for American narratives in theatre. Theatre critic Michael Billington noted that British culture is deeply infused with American history, suggesting audiences might relate more than they realize. Conversely, Nancy Durrant, co-host of the London Theatre Review podcast, emphasized the show’s absurdity, comparing it to other recent productions that embrace humor and silliness.

Park echoed the sentiment that laughter is essential, particularly in today’s challenging climate. “The world is quite literally crumbling around us. But it felt like everyone collectively relaxed watching this,” they said. This desire for joy seems to resonate strongly with audiences, especially during uncertain times.

In addition to its comedic approach, Oh, Mary! has broader implications for representation in the arts. Escola’s win at the Tony Awards marks a significant moment for non-binary and trans performers, which Park highlighted as a powerful statement during a politically charged time. “Diversity creates better art,” they affirmed, reflecting on the show’s evolution from a personal project to a cultural phenomenon.

As the production prepares to debut in London, it stands as part of a growing conversation about historical figures being reinterpreted for modern audiences. The rise of social media platforms like TikTok and Instagram has allowed figures like Mary Todd Lincoln to reclaim their narratives, illustrating that even centuries after their passing, their stories remain relevant and impactful.

In a world eager for entertainment and laughter, Oh, Mary! promises a unique theatrical experience that challenges traditional narratives while inviting audiences to engage with the complexities of its characters. How the production is received in London could pave the way for its recognition as a global cultural touchstone, following in the footsteps of Hamilton and other groundbreaking works.