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How casting made OH, MARY! a hit | The secret behind the Broadway play's star lineup
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Others in who Took Misty Copsey? I'm investigating the disappearance of a 14 year old girl who vanished from the Washington State Fair in 1992. How? Why? She was so sweet and so young. What happened to her? Listen to who Took Misty Copsey? Wherever you get your podcasts, ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com the question to my mind is this. Has there ever in the history of shows on Broadway been a series of replacement stars so brilliant and also so different? Oh my God Mary or oh Mary my God. Hey. I don't know. My catchphrase is oh my God. Hey, I'm talking about O Mary. There's a pun in there somewhere if you choose to see it. Welcome back to my theatre themed YouTube channel. Or hello to you if you're listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I am a professional theatre critic and content creator here on social media and today I am going to talk to you about the delicious, inspired and surprising star casting of the ongoing hit Broadway comedy play oh Mary. Written by Cola Scola, the play is currently running at the Lyceum Theatre on Broadway, having originally premiered back in February 2024 at the Lucille Lortel Theatre Downtown, which is where I saw it for the very first time. I have seen it twice since on Broadway, once with original star and writer Cola Scola and once with the equally brilliant Titus Burgess. But they are not the only performers to have donned the signature bratty curls of Mary Todd Lincoln in this acclaimed production, with Betty Gilpin having been the first to replace Cola Scola and Jinx Monsoon having taken over from Titus Burgess and who is also currently playing the role. Now, the reason I'm bringing this conversation to your attention today is because it was just announced that Jane Krakowski, Tony Award winner and beloved gay icon of stage and screen, will take over from Jinx mom soon with it's worth pointing out the brilliant understudy Hannah Solo, keeping the role warm for a couple of weeks in the interim. And when this news was announced, I just about lost my mind because I truly did not see it coming. I have scarcely recovered from seeing Jan Krakowski be luminous on stage earlier this year in the Stephen Sondheim and David Ives musical Here We Are at the National Theatre. I was not prepared for the possibility that she would be going back to Broadway and in the same season that Sherrie Renee Scott is also going back to Broadway as the standby for the lead role in the Queen of Versailles. It is a fantastic time to be a gay man who has emotionally never left 2003. And as prepared as I am to offer you simply an entire video essay about why I love Jane Krakowski and why I think she'll be fantastic in this role, I think there is a much more interesting conversation to be sparked here about the replacement casting of OH Mary and why its ingenious quality has become so integral to the increasingly valuable brand of the show. As always, I will share my thoughts with you, but I would love to hear yours. Let us all know what you think of the O Mary Broadway casting in the comments section down below. And if you have seen O Mary on stage, let us know which Mary Todd you saw and what you thought of their performance. Finally, if you enjoy listening to my thoughts and you want to hear more about Broadway, the West End and theater all around the world, make sure to subscribe right here to my theater themed YouTube Chann channel. Turn on notifications so you don't miss my very frequent videos or go follow me on podcast platforms. In the meantime, let's talk about the replacement casting of O Mary. So for those of you who have not yet had the hysterical experience of seeing this show in person, let me give you a little bit of a spoiler free overview. And if you would like to hear my fuller critical thoughts about the show, then you can find a full review that I shared as part of an Off Broadway review roundup right here. But this five person play comes from the twisted and delightful mind of Cola Scola, who wrote and starred in it downtown as Mary Todd Lincoln, with the conceit being that Mary Todd is the frustrated, neglected alcoholic wife of Abraham Lincoln who is paying her insufficient attention during the American Civil War, with an additional explanation being realities about his character that come to light over the course of the play. It's very much revisionist history that pays little attention to the actual historical details of any of these political characters. Cole, it seems, essentially saw the for an unhinged theatrical diva in Mary Todd Lincoln in a fascinating setting and threw caution to the wind when it came to accurately telling her story, instead infusing the history with queer themes that may or may not have actually existed, as well as a particularly winning mania that makes the central character of Mary Todd Lincoln just irresistibly wild. And Mary is deceitful and rambunctious and occasionally even animalistic and a little childish. She feels simultaneously like a teething toddler and a she's tearing apart the Oval Office looking for booze. She's pleading with her husband, the President of the United States that she can be permitted to once more take to the stage as she is a former cabaret icon and as side splittingly funny as all of these concepts and the writing would be by themselves. Where I think it finds the momentum and the interest to attain more longevity than a Saturday Night Live sketch with similarly zany characters is in the depth of Mary Todd's character. She is a loud, flamboyant and demanding diva personality, but she is also fearful and she also has a really palpable insecurity when it comes time for her to audition for a play and try and hone her craft as an actress. We see the self doubt there and perhaps even an unexpected amount of humanity masked by just really extraordinary character comedy written perfectly for Cole Escola's own talents. Cole has crafted this character for themselves and gave a stunning performance off and on Broadway. Now, a little bit of history about the show. It was such a success downtown. It moved up to the Lyceum Theatre where it became a sensationally hot ticket, even opening very early in the season and even amidst one of the most crowded Broadway seasons in recent history, one that was filled with huge legitimate movie stars like George Clooney and Denzel Washington and Jake Gyllenhaal, all taking to the stage as leading men in plays and eventually ending up in a Tony's race with Cole Escola. But Cole would prove one of the darlings of that Broadway season. The play would go on to be nominated for five Tony Awards with Cole winning for Their performance in Best Leading Actor in a play, as well as the play's director, Sam Pinkleton. And not for nothing, Cole was also nominated for the hugely prestigious Pulitzer Prize for Drama for Omar as well. But because the play opened so early in the season and because Cole had already performed in it downtown with the rest of the fantastic supporting cast, the road to the Tonys was a particularly long one. And that is where the replacement casting came into play. As the new year was approaching, it was becoming clear that O Mary was going to be a really considerable success. And Corsicola didn't necessarily have the availability to stay with the show up until the Tony Awards, which any pundit will tell you is essential if you want to lead a great Tony Awards campaign. It doesn't mean that you won't win the Tony if you're not still in the show, but it certainly helps. And so the smart solution was for Cole to take a short period away from the show, during which time they would be replaced in the leading role of Mary Todd Lincoln. But this is a very difficult thing to get right. Just ask the Broadway musical maybe Happy Ending, which has been in a little bit of hot water recently. With the first replacement for their Tony Award winning star, Darren Criss, having been announced as Andrew Barth Feldman, signalling a move from Asian representation in the show to, to colourblind casting. And truly, when it came time to replace Cole Escola, I was deeply curious about what this replacement casting might look like. Cole is a non binary performer playing a female character in a very queer, nonsensical show. Was there any suggestion that this would need to be a queer or female performer? Would it be another non binary performer? I half expected the Internet's reaction to be, you know, insisting that this remain a non binary individual. That's happened before in other roles that have had nothing to do with a non binary identity, but which have been originated by trans or non binary performers. And honestly, I think there could have been a little backlash if Cole were to be replaced by, for example, a white man. But the decision was made ingeniously that Cole's replacement would be a little bit of a left hand turn with Betty Gilpin taking over and making her Broadway debut. Now, I didn't get the chance to see Betty on Broadway, but this was an exceedingly smart choice and I will tell you why. It's also not a piece of casting that I saw coming. I was familiar with her work because I'd seen her breakthrough performance on the Netflix show Glow, in which she played a character who perhaps channeled some of the same diva frustration as Mary Todd Lincoln, but certainly she didn't get to access a lot of the same extreme theatrical emotions. But rather than going for an obvious Broadway name or someone who was going to give a very similar performance to Cora Scola and try and bring about the same kind of energy in the show, the team made the choice to instead honour the material in a very different way and bring in a performer who was entirely different but had a tonal similarity. In other words, though the play still in its first few months on Broadway, Carla Scola's Mary Todd Lincoln and Betty Gilpin's Mary Todd Lincoln would be deliberately different. And when the time came to find Broadway's third Mary Todd Lincoln, they aimed big, but not in the same direction as Carla Scola or even as Betty Gilpin, but instead at a completely different performer, Titus Burgess. Now, at this point, Titus was the most established Broadway star to be stepping into the role of Mary Todd Lincoln in the show, having appeared in several musicals, including the revival of Guys and Dolls, as well as the Little Mermaid. But like Bet, really having made a name for himself with comedy on screen, first in 30 rock and then in another Tina Fey project, the Unbreakable Kimmy Schmidt, where his character Titus Andromedon, became a self indulgent and deliberately pretentious fan favorite. And though once again I didn't see it coming, this casting didn't surprise me one bit. Not just because Cora Scola had gone on podcast and discussed how Titus Burgess was their particular dream for the role, to the extent that they were even a little bit worried that Titus might upstage their original performance, but also because, to quote the social media trend, it just made sense. So much so that I had to go and see it for myself. And when Titus returned to the role later in the year, I sat on the street outside the Lyceum Theatre for hours just to get one of the last few remaining Rush tickets and enjoy his performance. And he was hysterical and tonally completely different to Cora Scola, finding comedy in different places, finding laughs in the same scenes but with different techniques and a completely different interpretation, a different vocal affectation, and critically, just enough of his own beloved Persona that people who bought tickets to see Titus Burgess being Titus Burgess on stage would walk out of that theater delight. It worth pointing out as well that although it is a play and not a Broadway musical, it does feature one show stopping medley, which obviously Titus Burgess brought the house down with. And there are a handful of reasons why this particular piece of casting worked not only do you have a well known popular performer who hasn't been on stage in some time, audiences are excited to see them. They're going into a hit play that people know is funny. People can already see the overlap between a character that they've played on screen and the one that they're going to be playing on stage. Once again, the brilliant minds behind Omari weren't trying to emulate Cola Scola's performance and success with something familiar and similar, but they were bringing in a performer who could go boldly in their own completely different direction and bring a completely different kind of comedy to the material. But to my money, there's also something to be said for the sheer ridiculousness of it all. And this was talked about a lot in late night TV show interviews when Cole Escola would chat to Seth Meyers about the thought process behind building the show and Seth would poke fun at Cole's complete lack of interest in any kind of historical accuracy. And there's something about the extent to which this character can be nothing like Mary Todd Lincoln. Like this is not a Sally Field performance who looks and sounds like Mary Todd but is behaving in a different way. This is something visually completely ridiculousness to go with the over the top energy of the entire show. There has always been colorblind casting in the show when it comes to race and when it comes to Mary Todd, a very relaxed approach to gender because Titus was a CIS male performer performing this female role, the first on Broadway to do so. Meaning that by this point, with just three principal performers having played the role, it had been performed by black and white performers, by a man, a woman and a non binary actor. And I can think of very few other roles on Broadway that you could say the same thing about. And yet, as much as I could detail the differences between the performers to have played the role at this point, one interesting trend was.
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Emerging and this continued with the announcement of Broadway's fourth Mary Todd Lincoln one Jinx Monsoon, who is currently playing the role at the Lyceum Theatre. Now, by the time Jinkx was announced, Cora Scola has already won the Tony. They have subsequently once more departed the production. I dare say if the run ever looks like it's going to come to a close, there is always the possibility that they could go back into it like other, you know, ongoing stars who have been associated with one particular role. I'm thinking about Yul Brynner in the King and I, and you know, that's in and of itself a hilarious comparison to make because very different actors, very different roles. But Titus came back in before then, handing the proverbial baton to Jinkx Monsoon, who at this point had been building a stellar reputation in New York theatre. Jinkx, who was the breakout star and winner of season five of RuPaul's Drag Race, had always been destined for extraordinary theatrical success and had always performed in theatre. I had the joy of seeing her on Broadway in Chicago in 2023 as Matron Mama Morton, and she was was fantastic. Subsequently, she played Audrey in Little Shop of Horrors Off Broadway as one of the many stars to have played that iconic role at the west side Theatre. And this season she opened as Ruth in a new reconceived production of Pirates of Penzance called the Penzance Musical from the Roundabout Theatre Company at the Todd Haymes Theatre. And she shared in interviews that as summer was approaching and the end of that particular run, she had said that she didn't want to do anything unless O Mary called and oh Mary called, which meant that Jinx had to pull double duty, stepping almost immediately from one show into the next, rehearsing for the demanding leading role of Mary Todd Lincoln in the daytimes while performing in Pirates at night, she has now stepped into the role to tremendous acclaim. How I wish I could be in New York to go and see her in this show. But the theme that I mentioned that has been emerging from Calla Scola to Betty Gilpin to Titus Burgess to Jinkx, Monsoon isn't any physical or identifying characteristic that ties them together, but it instead is about the community that they either belong to or meaningfully represent. These are all queer icons, and though I obviously do not have a seat at the table where they are making these magical and inspiring casting decisions, I dare say that that may be a central fixture of the conversation. Because every time they produce the name of a new Mary Todd Lincoln on Broadway, it's an unexpected queer icon, including the latest addition to the group Broadway's fifth Mary Todd Lincoln, Jane Krakowski. Now, Jane will be taking over in the role later this year. She is an Olivier Award winner for her performance as Miss Adelaide in Guys and Dolls. She is a Tony Award winner for her performance in Nine. She was also a breakout star of Grand Hotel. She has been fantastic on stage in many Broadway shows, but just like Titus, she has also been making us laugh on screen. And exactly like Titus, she is well known for her performances in 30 Rock and the Unbreakable Kimmy Schmidt where she plays and get ready to take these adjectives off the list once more, an unhinged, maniacal diva. And in fact, between her 30 Rock and Unbreakable Kimmy Schmidt characters, there is so much Mary Todd Lincoln in O Mary energy that I can't believe I didn't predict this casting. If I didn't, it's probably because I didn't think we would get like legitimate Tony Award winners going into the show as the fifth replacement cast member. But Jenna Maroney is a demanding, dangerously insane diva who is obsessed with the SP spotlight and her Kemi Schmidt character is, at least in the first season, a self centered, neglected wife in the midst of an identity crisis. In short, Jane Krakowski has done all of this before and for personal reasons. I'm very excited about an alumnus of Andrew Lloyd Webber's Starlight Express going into O Mary. I think that could become a pipeline. A pipeline that they can roller skate through while singing about being a train. But why is this so purposeful and so clever? And what does it all have to do with marketing the show and selling tick? Well, aside from the obvious, which is, you know, putting exciting new people in the show and having their fans buy tickets to go and see them, there's something that they are doing with the brand of oh Mary that is making it so reliable to audiences. I posted a little TikTok clip about my excitement for Jane Krakowski to be going into the show and going back to Broadway. And I was struck by some comments from people who had already bought tickets in advance because they trusted the oh Mary casting team. They didn't know who this was going to be after Jinkx Monsoon. They didn't know if it would be another star returning from a previous limited run or someone as yet unannounced, but they knew it was going to be someone good. And now those people are laughing all the way to the bank, or should I say all the way to the Lyceum Theatre because they have tickets to see Jane Krakowski play Mary. And if you can establish that kind of trust in your audience, then you're building something incredibly special. Especially when so many other Broadway shows are criticized for replacement casting, whether it's controversial or whether it just doesn't live up to the performances of their predecessors. And there's also something to be said for the buzz that it's creating in the the for those of us who aren't necessarily seeing every replacement cast member in the show, but who are engaging with the conversation about who they are and who they might be next. And something that I think makes this very fun is the freedom of this role. And because it's not a musical, we don't have to think about vocal types. And often vocal types are the thing that needlessly constrain us to gender roles. So between that and the fact that the show signaled to us with the first three cast members that gender does not matter when it comes to this character. Race does not matter when it it comes to this character. We now have the freedom to pitch all sorts of exciting, dreamy names. Do we want Bowen Yang to be one of the next Mary Todds? Do we want it to be Amy Poehler? Truthfully, there are dozens of Saturday Night Live alumni who could go into this show. Kristen Wiig, Are you kidding me? Maya Rudolph, Anna Gasteyer, Rachel Dratch. The list goes on and on and on. Kate McKinnon. My God, hell, is Tina Fey herself going to make an appearance in O Mary at some point, now that Tyson, Titus and Jane have both done it? Or for the Kimmy Schmidt trifecta, what about Ellie Kemper? We could draw casting ideas from so many different places here. Emma Stone would be a phenomenal Mary Todd Lincoln. I don't know if we're going to reach the echelon of Meryl Streep, but I believe she would be excellent. And right now, in response to Jane Krakowski's casting, people are not only getting very excited about Jane doing it, but also pitching so Many off the wall replacement ideas coming from completely different directions. Fleabag star and creator Phoebe Waller Bridge, I think would be brilliant in this. The one thing I do find cur, because I mentioned this sort of feeling of a connection to the queer community, that these are a lot of queer and gay icons, is whether we would ever see Prepare your a Straight man, don the bratty curls and play Mary Todd Lincoln on Broadway. There are a few who I think could do this very, very well. It may not be as immediately at their fingertips, culturally speaking, but somebody like a Will Ferrell. Again, I'm thinking of the SNL alumni for people who have played these kinds of zany characters, but I'm intrigued if that is a step that the show is ever necessarily going to take. In fact, earlier today, in response to this casting, my fiance Aaron and I were having a fascinating conversation about what the Mary Todd actors might have looked like if this was being done 30 years ago. Would Kathy and Jimmy have gone into this? Is this something Amy Sedaris would have done? Call Escola has worked with Amy Sedaris, but Amy has said that she doesn't really want to do eight shows a week, that she doesn't necessarily have the stamina to do that. I thought about Bernadette Peters, as I so often do, and when I'm not thinking Bernadette Peters, I'm usually thinking about the Muppets. And Cole has also gone on record to say that Miss Piggy would be an impeccable Mary Todd Lincoln. I don't know how we make that happen, or whether that has to be on screen in some sort of an adaptation or even just a little bit of a skit or a marketing collaboration. Now that the Muppets are going to be guest appearing in a Broadway show in the next few months, I need something to happen with Miss Piggy and O Mary. And the reason we were able to have that conversation is not just because there is so much freedom when it comes to the casting and you can really just pitch anyone, but it's also because it's a fun show and it's a fun show to talk about. Not only is it not based on any kind of an intellectual property where you have to be concerned with matching a particular image, but also it is a play that has many of the characteristics of a musical. It is fun, it is silly, it is campy, it is dramatic, it features a medley of musical theater songs. It is cartoonish. And therein you find the answer to the question. Question, why do all of these actors want to go into this show that is fascinating in and of itself. Let's talk.
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About that so here's the thing, and this is really why I bothered to talk about this at all. All replacement casting in a Broadway show can be very difficult to get right. You can take something that was a hit, and if you don't get the casting right when the original star leaves the production, the whole thing can begin to sink. A lot of shows don't even bother with replacement casting because they just don't think that it would work with anyone else. See the recent revival of Andrew Lloyd Webber's Sunset Boulevard, which starred Nicole Scherzinger. Sometimes there is also a reluctance to replace a performer who has won a Tony Award for their performance. I'm reminded of Harvey Fierstein and the last Broadway revival of Le Cage aux Fall. Now Douglas Hodge had transferred from the London production with the revival to Broadway and he won a Tony Award for playing Alban Zaza. And Harvey said there were a bunch of actors who were willing to go into the show and play that role, but none of them wanted to do it immediately after Douglas Hodge because he just won the Tony. And so eventually Harvey had to step into those high heeled shoes and play the role himself. Sadly, it closed after that. None of those other actors had the chance. And I guess the timing of O Mary did a lot to preempt that issue, because by the time the Tonys rolled around and Cole won a Tony Award, Cole was already one of three actors to have played the role and Titus was already scheduled to go back in. Now, the other reason why specifically replacing a Tony Award winner in a show can be difficult is because audiences will often want to see that Tony Award winning performance and they theoretically won't be as interested in the person who's going to do it next. So you have to come up with a new reason, reason why that is going to be exciting for them. And the reason here is these big names with high profiles and existing fan bases. But as a Broadway show hiring replacement cast members, that is a difficult thing to find. Because the majority of stars want to open new productions on Broadway, not only do they get to work for an extended period with the original creative team and they get to build something and they get to make their own choices without feeling like they're stepping into something that's already a moving machine, but also they are going to be in awards contention. If they are going to be, you know, performing eight shows a week and doing this exhausting, tiring thing for weeks and weeks and weeks on end on stage, at least they want to be Tony Awards eligible, drama desks eligible. So sometimes you end up with a lot of actors who are considered too high profile to be replacement cast members. However, like I said, Tony Award winner Jane Krakowski becoming Broadway's fifth Mary Todd, that is very surprising. And it's because of of the material of this show. Here's the thing. For months, the Broadway community has been fan casting the likes of Jane Krakowski and specifically Jane Krakowski in shows like Death becomes her saying she'd be a great Madeleine Ashton. But in reality, what actors like Jane want to do is a show like O Mary. Not one where it's, you know, hugely vocally demanding for them, singing these challenging scores every night and wearing complicated costume pieces and having to do a whole bunch of things in a very specific machine like rhythm, but one which they get to roll off of a desk and run around in a ridiculous outfit and play and have an extended bizarre monologue out to the audience pretending that they are giving an objectively terrible audition. If you boil it down to its essential components, oh Mary offers a sandbox to comedic actors and the opportunity for them to do everything they have ever been told to tone down on stage or on television. They get to be more over the top, they get to be more extreme, they get to be manic, they get to be sel and indulgent. And the audience delights in the sheer scale of those acting choices. That is the real freedom that Cora Scola offered actors when they created the role of Mary Todd Lincoln in oh Mary. That is the freedom that is attracting them to this part and to this show. And that's what's making us excited as audience members. Because even though we know Jane Krakowski and we know this material, we still can't quite conceive exactly what this is going to look like or exactly how wild it's going to be. And we have this desire to see it for our. I know I do anyway. And so, alongside new and revived plays that are established names starring big Hollywood celebrities, O Mary has become one of Broadway's hottest tickets in recent months and one of its ongoing biggest hits. It seems as though the future continues to look bright for this little show that could from downtown succeeding at the Lyceum. The reasons for its success are vast. They include the brilliant talents of Cora Scola, of Sam Pinkleton, of the social media marketing, of all of the other members of the creative team of the Producers. But one particularly brilliant one that we've spoken about today is the casting. They are getting this right on Broadway and I cannot wait for Omar to announce that it's going to be popping up in other places around the world so we can find out what that casting is going to look like. And if you made it this long through the video essay, then I hope you took that hint. But for more on that front, you will have to wait a little bit longer. To make sure you don't miss that news though, make sure that you are subscribed right here on YouTube. Turning on the notifications. Somewhere below my face there's a button that looks like a bell. Click that one and then YouTube will let you know. Every time I post a new video. Spoiler alert. It's often, it's very often. Or if for whatever reason, it's easier for you to just hear me rather than looking at me and my little velvet bow, then you can follow me on podcast platforms. I was trying to give Omar It's a little bit Wednesday on Netflix. I shan't lie to you, but as always, I hope that you have enjoyed listening to my thoughts. Thoughts and I cannot wait to listen to yours. Please share all of your thoughts about the casting of O Mary on Broadway in the comments section down below and let us know which Mary's you've seen of the four that have played the role so far and whether you have tickets to see Jane. I hope, as always, that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
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