Podcast Summary: How casting made OH, MARY! a hit | The secret behind the Broadway play’s star lineup

Podcast: MickeyJoTheatre
Host: MickeyJoTheatre (Mickey Jo)
Episode Release Date: September 7, 2025

Main Theme & Purpose

This episode dives deep into how the inspired and continually surprising replacement casting of the Broadway comedy hit OH, MARY! became crucial to its success and enduring popularity. Mickey Jo explores the unique approach to casting Mary Todd Lincoln—a role originated by writer-performer Cole Escola and subsequently played by several iconic actors—and how this inventive strategy has become central to the show’s brand, buzz, and box-office power.

Key Discussion Points & Insights

1. A Brief, Spoiler-Free Overview of OH, MARY!

[05:30]

• OH, MARY! is a five-person comedy play written by Cole Escola, who also originated the lead role of Mary Todd Lincoln.
• The play is a riotous revisionist history: Mary Todd, a neglected, alcoholic wife of Abraham Lincoln, is depicted as a manic theatrical diva.
• The show intentionally disregards historical accuracy, lacing the narrative with queer themes and unpredictable, “teething toddler” energy.

2. The Power of Replacement Casting

[07:25]

• The original Off-Broadway run at the Lucille Lortel Theatre was a hit, leading to a Broadway transfer to the Lyceum Theatre.
• Cole Escola’s early departure (well before awards season) created an unusual situation: the title role needed a series of replacements, each casting choice reimagining Mary Todd Lincoln in a distinct way.

3. Each Mary Todd is Uniquely Different

• Betty Gilpin: A surprise choice for many, best known for GLOW, made her Broadway debut taking over from Cole. Gilpin “honored the material in a very different way...not bringing about the same kind of energy, but bringing a tonal similarity.” ([09:50]).
• Titus Burgess: Broadway staple and comedy star from Unbreakable Kimmy Schmidt—his casting “just made sense...I had to go and see it for myself. He was hysterical and tonally completely different to Cole Escola, finding comedy in different places...people who bought tickets to see Titus Burgess being Titus Burgess on stage would walk out of that theater delighted.” ([12:08])
  • Notably, he was the “first CIS male performer in the role,” underlining the show’s deliberately fluid approach to gender and race in its casting.
• Jinkx Monsoon: Renowned drag queen, RuPaul’s Drag Race winner, and acclaimed musical performer, stepped in next: “Jinkx had to pull double duty...rehearsing during the day, performing at night—she has now stepped into the role to tremendous acclaim.” ([15:48])
• Jane Krakowski (upcoming): Tony and Olivier winner, star of 30 Rock and Unbreakable Kimmy Schmidt, announced to take over from Jinkx Monsoon. Her casting was greeted with exuberant fanfare.

4. The Casting Philosophy: Freedom, Fan Service, and Queer Iconography

[17:00]

• Mickey Jo highlights that, aside from their diverse identities, each new Mary Todd Lincoln represents a “queer icon”—creating anticipation and buzz with every casting announcement.
• “Every time they produce the name of a new Mary Todd Lincoln on Broadway, it’s an unexpected queer icon—including the latest, Jane Krakowski.”
• Fans now trust the OH, MARY! team to deliver something exciting: “They didn’t know who this was going to be after Jinkx, but they knew it was going to be someone good.” ([18:54])
• The role’s lack of vocal/musical demands frees up the creative pool: “We have the freedom to pitch all sorts of exciting, dreamy names...there are dozens of SNL alumni who could go into this show—Kristen Wiig, Maya Rudolph, Kate McKinnon—my God, is Tina Fey herself going to make an appearance in OH, MARY! at some point?” ([20:00])
• The character is so fantastically broad that even outlandish casting pitches (Phoebe Waller-Bridge, Miss Piggy) are entertained, underlining the spirit of abandon and fun at the show’s core.

5. Broader Impact: Brand, Buzz, and Lessons for Broadway

[23:15]

• The frequently evolving casting not only attracts different fanbases, but also fosters a unique “brand trust”: ticket buyers are excited even before new actors are announced.
• Mickey Jo contrasts how replacement casting can usually be a show’s undoing, but here, “they are getting this right on Broadway, and I cannot wait for OH, MARY! 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.” ([28:33])
• The creative freedom and comedic abandon offered to its stars makes the show “a sandbox...everything they have ever been told to tone down on stage or on television, they get to be more over the top,” fueling both actor and audience enthusiasm.

Notable Quotes & Highlights

• On the casting approach:
  “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. That’s also not a piece of casting that I saw coming.” (09:50, Mickey Jo)

• On Titus Burgess:
  “Titus was the most established Broadway star to be stepping into the role...and though once again I didn’t see it coming, this casting didn’t surprise me one bit—because to quote the social media trend, it just made sense.” (12:08, Mickey Jo)

• On fan trust:
  “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...but they knew it was going to be someone good.” (18:54, Mickey Jo)

• On freedom of the role:
  “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...we now have the freedom to pitch all sorts of exciting, dreamy names.” (20:00, Mickey Jo)

• On casting as strategy:
  “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 just doesn’t live up to the performances of their predecessors.” (18:54, Mickey Jo)

• On creative attraction for actors:
  “O 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 self-indulgent.” (27:15, Mickey Jo)

Timestamps for Key Segments

• [05:30] – Introduction to OH, MARY!: concept and original run
• [09:50] – Betty Gilpin’s surprise debut and the show’s casting philosophy
• [12:08] – The “just makes sense” casting of Titus Burgess and his comic approach
• [15:48] – Jinkx Monsoon’s acclaimed entry and the show’s emerging casting theme
• [18:54] – Audience trust in casting decisions—and fan anticipation
• [20:00] – Dream fan castings and the open, gender/race-fluid nature of the role
• [23:15] – How OH, MARY!'s casting produces ongoing buzz and branding
• [27:15] – What makes the role so attractive to major comedic actors

Episode Tone

Mickey Jo maintains a lighthearted, witty, and enthusiastic tone throughout, peppering in humor, theatrical references, and personal excitement—especially at the queer, campy exuberance of both the role and its performers.

Conclusion

Mickey Jo’s analysis makes it clear: OH, MARY!’s star-powered, ingeniously varied casting isn’t just a logistical solution—it’s at the core of the show’s continuing Broadway dominance. By providing a comedic playground for a parade of queer icons and beloved comedic stars, the show ensures every new casting is an event, fueling sales, excitement, and endless fan debate.

Fans and theater lovers are encouraged to join the conversation—who would YOU cast as the next Mary Todd Lincoln? The possibilities are as wild and witty as the play itself.