Cole Escola’s Hilarious Broadway Comedy Is a Clever Gay Riot

Cole Escola’s “Oh, Mary!” is the epitome of gleefully absurd comedy that takes a cheeky jab at American history, transforming it into a carnival of campy humor. Nominally, the play centers on Mary Todd Lincoln during the weeks preceding President Lincoln’s assassination, but it skirts the edges of the Civil War or politics. The heart of the story is Mary’s fervent longing for the limelight. Escola’s portrayal of the former first lady is that of a self-proclaimed “well-known niche cabaret legend” famous for her “short legs and long medleys.” Her husband frowns upon cabaret, asserting it’s undignified for the first lady to be on stage, particularly during wartime.

‘Oh, Mary!’ Broadway Star Cole Escola Would ‘Love’ for Pedro Pascal or Tituss Burgess to Replace Them as Mary Todd Lincoln in the Hit Comedy

The play humorously contrasts cabaret with “legitimate theater,” particularly through a character who explains that while theater is cloaked in subtext, cabaret supposedly lacks it. “Oh, Mary!” cleverly critiques this notion with subtle, and not-so-subtle, humor. The play’s surface tells the tale of a gay romp: Mary Todd Lincoln, portrayed as a manic-depressive alcoholic, wreaks havoc, while her husband, played by Conrad Ricamora, tries to contain the chaos. To keep Mary off the stage and alcohol, Lincoln enlists a companion (Bianca Leigh) and an acting teacher (James Scully). Meanwhile, Lincoln himself grapples with his hidden homosexuality.

The comedy is relentless, with Mary drinking paint thinner and Lincoln making risqué requests to his Union soldier aide (Tony Macht). The jokes, puns, and gags come rapidly, keeping the audience in stitches for the entire 90 minutes. “Oh, Mary!” stands out as Broadway’s most hilarious, flamboyant, and campy production in years, promising a spectacular night at the theatre.

Yet, beneath the slapstick, Escola weaves in personal elements, tackling alcoholism, addiction, depression, mental health, and the peculiar hardships of being adored yet obscure. The play also subtly touches on gender and nonbinary experiences, using fashion and performance as modes of exploring and expressing gender. Escola’s Mary offers a refreshingly affirmative take on the often-transphobic “man-in-a-dress” trope, transforming it into something that celebrates gender diversity.

“Oh, Mary!” was a hit Off-Broadway at the Lortel Theatre, becoming a must-see for New York’s gay community. With its surprising twists and delightful reveals, the play has significant shock value, making it worthwhile for repeat visits. On Broadway at the Lyceum Theatre, the design remains purposefully minimal, emulating a low-budget high school production, which only heightens the play’s campy charm. The sets, designed by dots, are humorously undersized for the Lyceum’s grand stage, and the sound design by Daniel Kluger and Drew Levy adds to the overall hilarity. Holly Pierson’s costumes, including a rather rudimentary top hat and flimsy antebellum skirts, contribute to the delightful aesthetic. Ultimately, the standout is Mary’s iconic “bratty curls” wig, designed by Leah J. Loukas.

Focusing squarely on Mary, the play humorously lists Lincoln just as “Mary’s Husband,” underscoring her central role. It’s a playful yet meaningful way of revisiting history, allowing Escola to revel in their well-deserved spotlight. As Mary Todd, Escola delivers a performance so compelling and award-worthy that it even prompts discussions about the Gender-neutrality of acting awards.

“Oh, Mary!” is elevated by director Sam Pinkleton’s skillful guidance, which amplifies Escola’s unique brand of satirical, edgy humor. Pinkleton masterfully maintains the show’s unhinged tone while ensuring its sustainability through the entire runtime. The timing and delivery by the ensemble cast are impeccable, with Escola and Ricamora particularly knowing just how to maximize each joke’s impact.

The enthusiastic audience reaction — including rare mid-scene applause — speaks volumes about the show’s wide appeal, which has expanded beyond its initial primarily gay audience. The cast has only grown stronger, with Escola, Ricamora, and Leigh showcasing even greater chemistry.

“Oh, Mary!” stands out as a blend of campy theatrics and meaningful commentary, offering an unabashedly queer narrative with layers that challenge conventional ideas about gender and sexuality. The play’s climactic finale, involving a cabaret performance amidst a historical re-enactment of Lincoln’s assassination, is both profound and ludicrous — a perfect encapsulation of the show’s spirit.

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