Oh, Mary! AT TRAFALGAR THEATRE, LONDON
- Mar 11
- 7 min read
Gloriously over the top, deliciously filthy, and utterly unhinged!
Flash back to the 2025 Tony Awards season, when the name on everybody’s lips was Mary Todd Lincoln. Oh, Mary! written by and starring Cole Escola took Broadway by storm, earning Escola the Tony Award for Best Actor in a Play. With so much buzz surrounding the production, I was curious to see how it would translate for a London audience. The success of the musical Hamilton has already shown that American history can capture audiences’ imaginations and become a major hit, but I wasn’t entirely sure whether a story centred on Mary Todd Lincoln would resonate in the UK. However, after doing a bit more research, it quickly became clear that this particular version of her story is an entirely fictional satirical comedy. At that point, I was completely sold and intrigued.
The atmosphere on entering the auditorium at the Trafalgar Theatre is electric. There’s a palpable buzz among the crowd as they take their seats. On stage, a closed yellow curtain sets the scene, while a series of iconic remixes such as Losing My Mind by Liza Minelli and the Pet Shop Boys and Tomorrow from the musical Annie blast through the auditorium. The music instantly lifts the energy in the room, putting the audience in an excited mood and subtly hinting at the playful, camp tone of the evening ahead.
The play follows Mary Todd Lincoln, wife of the 16th President of the United States, Abraham Lincoln. In this wildly reimagined version of events, Mary Todd is portrayed as an alcoholic who dreams of becoming a cabaret star and is fiercely jealous of the attention her husband receives. In an attempt to stop her constantly harassing him, President Lincoln hires a theatre teacher to keep Mary occupied. That teacher turns out to be none other than John Wilkes Booth, yes, the very man who would go on to assassinate the president. Don’t worry though, that’s not really a spoiler… For those less familiar with the history surrounding Abraham Lincoln, the voice of Cole Escola provides a brief history lesson before the curtain rises, making sure the audience knows exactly who Booth is before the story begins.
The opening moments of the play waste no time in establishing exactly what kind of Mary Todd we’re dealing with. Before she even appears, Abraham Lincoln is seen hurriedly hiding a bottle of brandy in his desk before exiting the stage. Moments later, Mary bursts into the room and immediately begins aggressively tearing through the desk in every possible way to get to the booze. It’s a chaotic and hilarious introduction that instantly sets the tone.
From the outset, it’s also clear that Mary and Abraham can barely stand each other, and, in truth, Mary seems to hate just about everyone. The play unfolds through a series of short sketches, each building to a dramatic crescendo before plunging the audience into complete darkness. These blackouts allow the laughter to ripple through the theatre before the next melodramatic scene begins.
The scene changes during these moments are particularly impressive. When the stage goes dark, it’s truly dark, you can’t see a thing, which makes it all the more striking when the lights suddenly snap back on and the cast, along with various props and set pieces, appear to have materialised instantly. This becomes especially effective later in the play, for the first few scenes, all the action takes place in the President’s office at the White House, creating a familiar setting for the audience. However, during a later blackout, as the audience waits in complete darkness for the next scene, the lights flash back on to reveal that the stage has been entirely transformed into an American-style saloon. The transition happens remarkably quickly and seamlessly, with no audible indication that any set changes were taking place.
Like the Broadway production, Oh, Mary! is directed by Sam Pinkleton, who won the Tony Award for Best Direction of a Play for the show. Pinkleton is also well known for his choreography work on Broadway productions such as Natasha, Pierre & The Great Comet of 1812 and Amélie. His background in choreography is clearly evident in the direction of this piece. With so many high-energy, intense, and melodramatic moments, the rapid-fire dialogue and bursts of action require incredibly precise timing. Each movement and line feels choreographed, giving the show a sharp, deliberate pace that is executed brilliantly throughout the performance.
One particularly amusing touch is that the characters in the programme aren’t listed as Abraham Lincoln or John Wilkes Booth. Instead, Mary Todd’s egocentric personality extends even to the casting, with each role labelled from her perspective, such as “Mary’s Husband” and “Mary’s Teacher”, ensuring the entire world of the play revolves around her.
The show features a cast of just five performers, and the way they carry the entire production is astonishing. Playing Mary’s chaperone, Louise, is Kate O'Donnell. Her character is perhaps the most historically accurate of the group in terms of the dress and her behaviour, she is dressed in an impeccable 1800s gown that looks like it could have stepped straight out of Bridgerton. Mary’s Chaperone is prim, proper, and strictly law-abiding, though there’s a darker edge lurking beneath the surface. While the character doesn’t necessarily drive the storyline forward, she often serves as the unfortunate target for Mary’s hateful, yet oddly playful, cruelty. O’Donnell performs the role brilliantly, beginning as a kind-natured and convincingly period-appropriate woman before gradually spiralling into increasingly chaotic and unhinged behaviour as the play unfolds.
There has long been debate among historians and researchers about whether Abraham Lincoln may have been gay or bisexual. In this version of events, however, the play leans fully into the idea, portraying Lincoln as a man in denial of his sexuality, hopelessly infatuated with his assistant, played by Oliver Stockley. It’s a shame that “Mary’s Husband’s Assistant” is the smallest role in the production, because in the brief moments we do see Stockley, he plays the character with perfect naivety and quiet compliance, particularly during the hilariously awkward moments when he is asked to perform sexual favours for Mary’s Husband. Mary’s Husband himself is played by stage favourite Giles Terera, who captures the character’s constant state of gay panic perfectly. Throughout the show, Terera maintains an incredibly high level of energy, matching Mary Todd’s intensity rather than ever attempting to calm her down. Instead, he meets her chaos head-on shouting back, pleading with her to leave him alone, and desperately trying to return to his work… and his assistant! Terera delivers the role with a wonderfully explosive sense of frustration, and his razor-sharp comic timing lands every joke perfectly.
Playing Mary’s Teacher is Dino Fetscher, who embodies the role with the charm of a storybook prince, handsome, charismatic, irresistibly desirable, and utterly naïve. Tasked with keeping Mary Todd occupied and away from her husband, his character initially appears grounded and composed, to balance Mary’s explosive energy. As the play unfolds, however, he becomes increasingly captivated by Mary Todd, eventually falling headlong in love with her. Fetscher navigates this transformation with impressive comedic skill, blending vulnerability with the chaos of being caught up in Mary’s whirlwind. His magnetic charm lets him meet Mary’s relentless energy head-on without ever being overshadowed, and when his character arc takes an unexpected turn, he delivers it with razor-sharp timing and precision. The transformation is both hilarious and delightfully unexpected, making him one of the most compelling presences on stage.
And at the heart of it all is the chaotic, unpredictable force that is Mary Todd Lincoln, brought to life brilliantly by Mason Alexander Park. From the moment they step on stage, their energy is relentless, intensely over-the-top, enraged, and gloriously melodramatic. Mary Todd clearly dominates every scene, asserting herself as the unstoppable centre of the show. While much of the performance is high-octane and erratic, there are rare moments where Mary is stripped of her bravado, revealing vulnerability beneath the chaos. These quieter, more intimate moments are handled with remarkable subtlety and grace, showing the full range of Mason’s talent. I’ve rarely seen a character quite like Mary Todd Lincoln on stage, utterly bonkers, outrageously funny, and a true tour-de-force. Mason inhabits the role flawlessly, and I wouldn’t be surprised to see them collecting awards for this performance in the future. Experiencing Mason in this role was a genuine pleasure, and I’m grateful I booked to see the show. The character of Mary Todd is so unique, so hysterically entertaining, that I would absolutely return to see another performer tackle the role just to witness a different interpretation.
Clocking in at just under 80 minutes with no interval, the play moves at a breakneck pace. With razor-sharp timing and the cast’s consistently high energy, the performance flies by in what feels like no time at all. By the final curtain, I was genuinely shocked at how quickly the show had passed. As we left, we both agreed we could easily have walked straight back in and watched it all over again. The comedy might not be to everyone’s taste, it’s often vulgar, delightfully silly, and wildly over-the-top, but it’s so cleverly written that, regardless of your preferences, you can’t help but get swept up in the chaos and laugh along. Oh, Mary! may not run in London for years to come, so whilst it is here, I can’t recommend enough that audiences book their tickets and soak in the hilarity. It’s a riotous, unforgettable ride and a guaranteed belly laugh!
⭐⭐⭐⭐
SEAT REVIEW
Location: Dress Circle, Seat E11
This seat offers an excellent view of the stage. The Circle feels very close, making it easy to see the performers’ facial expressions clearly. There are a few steps to navigate to reach this area, and the toilets are conveniently located nearby. I would definitely be happy to sit here again!
