All Of It: Tony Nom Favorite - "Oh, Mary!"

Host: Alison Stewart
Guests: Director Sam Pinkleton, Actor Conrad Riccora
Release Date: April 15, 2025
Podcast: All Of It by WNYC

Introduction to the Episode

In this episode of All Of It, host Alison Stewart delves into the vibrant New York City theater scene on the brink of the Tony Awards. Focusing on the highly acclaimed play "Oh Mary!", Stewart explores its Off-Broadway success and subsequent Broadway debut at the Lyceum Theater. The episode offers an in-depth conversation with Director Sam Pinkleton and Actor Conrad Riccora, providing listeners with behind-the-scenes insights into the production's creation, challenges, and its reception amidst a bustling Tony season.

"Oh Mary!" - A Theatrical Phenomenon

"Oh Mary!" is a darkly comedic play penned by Cole Escola, presenting a fictionalized and whimsical portrayal of Mary Todd Lincoln and Abraham Lincoln. The narrative centers on Mary’s struggle with alcoholism and her aspirations to become a cabaret star, juxtaposed against Abraham Lincoln’s immense pressures during the Civil War. This unconventional take blends historical figures with farcical elements, creating a unique theatrical experience.

Key Plot Points:

• Mary Todd Lincoln (played by Cole Scola) exhibits erratic behavior, such as tearing up her husband's office in search of whiskey ([Transcript: 00:15]).
• Abraham Lincoln (played by Conrad Riccora) attempts to manage the Civil War while dealing with his wife's antics and his own repressed desires.
• The introduction of acting lessons for Mary leads to unforeseen and comedic complications ([02:59]).

First Impressions and Laughter

Both Sam Pinkleton and Conrad Riccora express their initial reactions to the script, highlighting the play's humor and compelling nature.

• Sam Pinkleton:
  “The first time I read the script, it's the only time I've ever read a play and laughed out loud, like, howling laughter... I've never laughed so hard reading something.” ([02:59])

• Conrad Riccora:
  “I read the script for Omar back in November, and I was just giggling like an idiot... I was like, you have to read this script. It is so just. Yeah. Again, like Sam said, it was the first time I was dying laughing from just reading something.” ([03:22])

These enthusiastic responses set the tone for the production's journey from humor-laden script to a beloved stage performance.

Directorial Vision and Production Challenges

Sam Pinkleton discusses his approach to directing "Oh Mary!", emphasizing the balance between comedy and the underlying gravity of the characters' circumstances.

• Sam Pinkleton:
  “Part of what's so special about what Cole has written is it's not just a spoof... It's a beautifully constructed play about a woman who wants something so, so bad... my job was to get all of these people on board to both embrace the hilarity of it, but to find gravity in it and to take it really seriously.” ([04:04])

This duality ensures that while the audience is entertained by the humor, they also connect deeply with the characters' struggles and motivations.

Portraying Abraham Lincoln with Depth

Conrad Riccora delves into his interpretation of Lincoln, balancing historical reverence with the play’s comedic elements.

• Conrad Riccora:
  “To me, it is deadly serious. The best comedies... are people that are in the biggest predicaments because it not only causes you to laugh, but it also pierces you, like, through your heart at the same time.” ([05:37])

Despite the farcical setting, Riccora emphasizes the character's profound internal conflicts, ensuring Lincoln remains a figure of depth and authenticity.

Scaling Up for Broadway

Transitioning from Off-Broadway to Broadway posed unique challenges. Sam Pinkleton highlights adjustments made to preserve the play's essence while accommodating a larger venue.

• Sam Pinkleton:
  “We added a lot of seats... the job going to Broadway was just about honestly, like, reconnecting to the truth of it, taking it even more seriously than we took it downtown.” ([06:34])

The move to the Lyceum Theater allowed for enhanced production elements, such as advanced lighting, which Sam mentions adds a new dimension to the performance ([07:48]).

Vocal Training and Physical Comedy

Although "Oh Mary!" does not involve singing, Riccora touches upon the importance of vocal training and physicality in his performance.

• Conrad Riccora:
  “I went to school to do this for three years and that involved a lot of vocal training... repetitive, boring work makes you great.” ([08:28])

This rigorous preparation underpins the actor's ability to deliver both comedic and emotionally charged performances seamlessly.

Crafting a Cohesive Narrative

The play’s structure is lauded for its tight plotting and character-driven surprises, distinguishing it from typical sketch or gag-based comedies.

• Sam Pinkleton:
  “Cole Escola has created a structure that is just airtight. It's thrilling... There is a very kind of traditional... bones are so good...” ([10:04])

This solid foundation allows for unexpected twists that feel organic to the story and characters, enhancing the overall theatrical experience.

Exploring Abraham Lincoln's Vulnerabilities

Conrad Riccora explores the complexities of Lincoln’s character, particularly his vulnerabilities and the contrasting dynamics with Mary.

• Conrad Riccora:
  “Mary... reminds Abe of a carefree, whimsical time from his past that he's not able to. He loves and loathes her so much because he's taken on the responsibility of being the president during the worst crisis in our nation's history.” ([11:28])

This intricate portrayal adds layers to Lincoln, making his interactions with Mary both humorous and poignant.

Handling Sensitive Themes with Care

The play touches on Abraham Lincoln's repressed sexuality, a subject Conrad Riccora approaches with sensitivity to avoid mean-spirited humor.

• Conrad Riccora:
  “I'm queer... my radar for it being mean or damaging is higher than anyone else's... I trust their sensibility, and I also trust my own sensibility.” ([12:48])

Riccora's personal connection ensures that the comedic elements related to Lincoln's sexuality are handled respectfully and authentically.

Emotional Investment in Performance

Riccora shares his journey from finding the script hilarious to deeply embodying Lincoln's serious struggles.

• Conrad Riccora:
  “In the first couple of weeks of rehearsal... I was having a hard time with breaking... but then the predicament that Abraham Lincoln is in started seeping more and more into my flesh and my bones.” ([13:47])

This evolution highlights the transformative power of theater, where humor and tragedy intertwine to create a compelling narrative.

Designing Iconic Visuals

The playful and distinctive wig worn by Mary Todd Lincoln became a symbolic element of the play.

• Sam Pinkleton:
  “The wig went through many versions... we arrived at this wild wig that Cole lovingly talks about, the bratty curls.” ([14:37])

The wig not only enhances Mary's character but also serves as a memorable visual that resonates with audiences.

Balancing Comedy and Emotional Depth

A particularly challenging scene—the final saloon sequence—required meticulous effort to balance escalating tension with comedic elements.

• Conrad Riccora:
  “I feel like that one kind of bottling up everything that is simmering in the pot... it just clicked.” ([15:37])

• Sam Pinkleton:
  “What's actually happening here? What is the truth?... setting up the time and place took a lot of work and kind of messing with audiences expectations.” ([16:42])

This collaboration underscores the importance of maintaining narrative integrity while delivering laughter.

The Therapeutic Role of Comedy

Addressing the broader societal context, both guests emphasize the essential role of comedy in providing relief during stressful times.

• Sam Pinkleton:
  “Having this play as this wild space for people to just laugh... comedy is always the number one thing to save us.” ([18:26])

• Conrad Riccora:
  “Every time I've met somebody that has seen the show, they've just come up to me and said, thank you for making me laugh for 80 minutes. I really needed it.” ([19:45])

Their reflections highlight how "Oh Mary!" offers a sanctuary of laughter and emotional respite for audiences amidst contemporary challenges.

Looking Ahead

The episode concludes with a teaser for the next segment, featuring Megan Hilty from the musical Death Becomes Her, promising further exploration of this year's top Broadway offerings.

Notable Quotes with Timestamps

• Sam Pinkleton ([02:59]):
  “I've never laughed so hard reading something.”

• Conrad Riccora ([03:22]):
  “It was the first time I was dying laughing from just reading something.”

• Sam Pinkleton ([04:04]):
  “It's a beautifully constructed play... my job was to get all of these people on board to both embrace the hilarity of it, but to find gravity in it and to take it really seriously.”

• Conrad Riccora ([05:37]):
  “The best comedies are people that are in the biggest predicaments because it not only causes you to laugh, but it also pierces you, like, through your heart at the same time.”

• Sam Pinkleton ([06:34]):
  “Taking it even more seriously than we took it downtown.”

• Conrad Riccora ([12:48]):
  “I'm queer... my radar for it being mean or damaging is higher than anyone else's.”

• Sam Pinkleton ([18:26]):
  “Comedy is always the number one thing to save us.”

This comprehensive discussion on All Of It not only highlights the creative processes behind "Oh Mary!" but also underscores the enduring power of theater to reflect, entertain, and heal its audience.