The much-hyped Broadway transfer of Cole Escola's 'Oh, Mary!' has opened at London's Trafalgar Theatre, promising uproarious black comedy but delivering a controversial dose of camp chaos that left our critic cold. The play, which lampoons the life of Mary Todd Lincoln and her husband President Abraham, runs until 25 April.
A Lewd Revision of American History
Arriving with significant fanfare after success in New York, the production offers a wildly revisionist take on the 19th-century First Couple. Here, Mary Todd Lincoln is portrayed as a drunken, aspiring cabaret star, while Abraham Lincoln is depicted as a closeted homosexual, grappling with a hunky ex-lover who seems straight from a 1970s adult film.
The plot, such as it is, revolves around Mary's life in the lead-up to Abraham's assassination, filled with swearing, singing, and acts of sexual desperation. The original Broadway production starred writer Cole Escola as Mary; this London version features Mason Alexander Park in the central role, with Giles Terera as President Lincoln and Dino Fetscher and Oliver Stockley as the men in his life.
Broad Farce and Squandered Talent
Directed by Sam Pinkleton, the show is farce at its broadest. The set, designed by the collective dots, features two slamming doors to hammer home the panto-style antics. The humour, however, is frequently cited as the show's weakest link.
Critics note that the jokes are often obvious, relying on American Pie-grade puerility rather than sharp satire. Gags involving Mary lifting her hoop skirt or drinking vomit from a bucket land with a thud for those expecting more. Despite the undeniable musical talent of Mason Alexander Park, showcased in other West End productions, their abilities feel wasted on slapstick and a final medley that never soars.
More damningly, the play's commitment to "no research," as admitted by Escola, leaves it devoid of the social observation or acid critique that defines great satire. The revisionist premise yields no insight into how history shaped Mary Todd Lincoln; instead, she is rendered simply repulsive, the butt of jokes from every other character.
Audience Reaction and Critical Verdict
On the night attended, the audience enthusiastically lapped up the pantomime spirit, suggesting the show has its crowd-pleasing merits. Yet, for this critic, the 90-minute runtime felt exhausting, offering little in the way of story, character, wit, or meaningful purpose.
While 'Oh, Mary!' may entertain those seeking undemanding, overheated comedy, it squanders its historical setting and a talented cast on sophomoric gags. For a show trading on camp and chaos, it ultimately feels like a missed opportunity for something more substantial.
