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A collage showing Cole Escola as Mary Todd Lincoln, historical photos of Mary Todd Lincoln, and other ephemera.
“Oh, Mary!” has emerged as an unexpected sensation of the Broadway season. This eccentric comedy is centered around an audaciously fictional narrative that reimagines Mary Todd Lincoln as a self-absorbed alcoholic with aspirations of becoming a cabaret performer.
Cole Escola, known for his alt-cabaret performances, is at the helm of this production, serving as both writer and star. His extensive background in gender-bending sketches, showcased on platforms like YouTube, has shaped the unique parodic aesthetic that defines “Oh, Mary!”
At the heart of the show lies Mary Todd Lincoln, portrayed in an exaggerated manner by Escola. This iteration of the historical first lady balances both earnestness and absurdity.
As the creative process unfolded, Escola contributed significant ideas regarding Mary’s portrayal and aesthetic direction.
The visual centerpiece of the production is Mary’s distinct black gown. Escola envisioned it as voluminous and dramatic, filled with playful elements yet simultaneously conveying a sense of entrapment. “I wanted everything to move and to be fun to play with, but I also wanted it to look like she’s trapped,” Escola commented.
The striking black moire dress draws inspiration from historical portraits and exhibits of Mary Todd Lincoln. Holly Pierson, the costume designer, explained that the gown features exaggeratedly large puffy sleeves and a pointed bodice to hint at Mary’s imaginary history as a cabaret star.
As the show progressed, adjustments were made, including shortening the gown to accommodate Escola’s dynamic performance style. “The shortness was necessary for Cole to run around and jump on the desk and do all the stuff on the floor,” Pierson noted.
The undergarments, which include black tights, whimsical bloomers adorned with red hearts, and a ruffled hoop skirt, underwent multiple redesigns to lighten them for Escola’s performance. Initial versions proved too cumbersome, hindering movement.
Meanwhile, Mary’s hair, styled as a dark brown bob with bouncy curls, is the creation of seasoned wig designer Leah Loukas. The style’s severity and center part are influenced by historic images, while the curls adding a lively touch were inspired by various characters from classic film, such as Aunt Pittypat from “Gone With the Wind,” the evil stepsister in “Cinderella,” and a treasured childhood poetry volume belonging to Loukas.
As the show transitioned to Broadway, the team made the curls increasingly extravagant, emphasizing humor while ensuring they complemented Escola’s expressions, which required careful experimentation.
Escola’s admiration for vintage cinema and its starlets enriches his portrayal of Mary. He draws from the works of legends like Margaret Sullavan and Barbara Stanwyck, with the 1949 film The Heiress being particularly influential. “It’s thematically similar,” Escola elaborated, relating the film’s narrative of a woman unexpectedly navigating her role to Mary Todd Lincoln’s journey.
Andrew Moerdyk, a scenic designer for the show, remarked that the visuals are steeped in nostalgia for classic cinematic tropes, which is a hallmark of Escola’s work. For instance, an intimate moment between Mary and her acting coach evokes the essence of a romance novel or classic movie scene.
Escola reflects, “I’m inspired by old movie romance, whether it’s Scarlett and Rhett from “Gone With the Wind” or Cathy and Heathcliff from “Wuthering Heights.””
The set design embraces a theatrical quality reminiscent of community performances, intentionally styled to notice its artificiality. For instance, the White House office features unconventional door placements for practical visibility, intentionally disregarding architectural realism.
Director Sam Pinkleton emphasized that the design approach was playful, aimed at bringing out the comedic potential of the script. “Everything is taken a step too far,” Pinkleton noted, rejecting any inclination toward muted naturalism.
As the narrative reaches its climax, particularly during the assassination scene at Ford’s Theater, the design takes a more serious turn. The stage’s backdrop is intentionally designed to evoke powerful imagery associated with the historical event, while the iconic booth’s placement amid darkness creates a striking visual impact.
Mary’s attire during this pivotal moment—a bold blue dress—highlights the creative team’s unique take on historical costumes, influenced by mid-century aesthetics. While historically accurate in the fabric’s existence, it deviates in color and vibrancy to convey a sense of empowerment, described by Pierson as “brash and almost tacky.”
Ultimately, “Oh, Mary!” embodies a blend of homage and satire, crafted by a creative team that deeply appreciates the theatrical medium yet remains willing to poke fun at it. Pinkleton encapsulated the essence of this project by stating, “We wanted the whole thing to be a warm embrace of doing a play.”
Cole Escola is slated to remain in the titular role of “Oh, Mary!” until January 19, after which actress Betty Gilpin is set to take over for an eight-week run. Tickets for the production are available through June 28, with details regarding Escola’s successor still to be announced.
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www.nytimes.com