A Lavish Spectacle, But Dose ‘Oh, Mary!’ Truly Illuminate Lincoln’s Wife?
The new musical ”Oh, Mary!” currently playing at the Trafalgar Theater in London, arrives with a buzz following Tony Award recognition. It stars the immensely talented Joaquina Kalukango as Mary Todd Lincoln, alongside Giles Terera as her husband, Abraham Lincoln. However, beneath the vibrant costumes and energetic performances, a question lingers: does this production offer genuine insight, or simply rely on shock value?
A Campy Take on a Complex History
Escola’s vision for “Oh, Mary!” delivers a decidedly camp aesthetic, aiming for broad comedic effect. You’ll find yourself witnessing slapstick routines and deliberately over-the-top scenarios. While the show certainly elicited laughter from the audience, the humor often feels predictable and leans heavily into puerile gags – reminiscent of a style even Kenny Everett might have deemed too simplistic.
The production, directed by Sam Pinkleton, embraces a farcical style, visually emphasized by dots’ deliberately theatrical set design featuring prominent double doors. It’s undeniably big, loud, and designed for immediate crowd appeal. However, the show’s reliance on retro naffness and cartoonish stereotypes ultimately feels hollow, leaving you wondering about the underlying purpose.
Musical Talent Underserved
Joaquina Kalukango‘s vocal prowess is undeniable, as fans of her work in Jamie Lloyd’s productions of The Tempest and Much Ado about Nothing will attest. Unfortunately, the slapstick-driven nature of “Oh, Mary!” largely prevents her from truly showcasing her remarkable range. A song medley at the end feels dramatically undercooked, failing to provide the space for her glorious voice to truly shine.
A Lack of Ancient Depth
Perhaps the most significant issue lies in the show’s approach to it’s subject matter. The writer openly admits to conducting “no research” into Mary Todd Lincoln’s life. This absence of historical grounding is glaring,especially given the potential for satire and black comedy to offer insightful social critique.
Rather of exploring the challenges Mary faced as a woman in 19th-century America,or the pressures of being frist Lady during the Civil War,the narrative focuses heavily on the men surrounding her. you’re presented with storylines involving Abraham Lincoln’s alleged homosexuality, a former lover, and his current affections. Mary, simultaneously occurring, is largely portrayed as a figure of ridicule, the butt of jokes behind her back.
* The missed opportunity: A “revisionist” take on Mary Todd Lincoln coudl have been powerfully illuminating.
* The reality: The show offers little beyond superficial caricature.
Exhausting and Ultimately Unsatisfying
At 90 minutes, “Oh, Mary!” feels surprisingly exhausting. the relentless barrage of sophomoric comedy becomes draining, leaving you with a sense of disappointment. Rather than prompting empathy or understanding, the production ultimately feels dismissive. It’s less a thoughtful exploration of a complex historical figure and more a resounding “Bye, Felicia!”
Where to find it: Trafalgar Theatre, London, until April 25th.
Disclaimer: This review reflects the author’s personal experience and critical assessment of the production.
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