Podcast Summary: Oh, Mary! (Trafalgar Theatre, West End) - ★★★★ REVIEW

MickeyJoTheatre | December 19, 2025

Episode Overview

Mickey Jo reviews the West End transfer of the hit comedy play “Oh, Mary!” at the Trafalgar Theatre, originally created and performed by Cole Escola. Having seen multiple productions both Off- and On-Broadway, Mickey Jo provides a first-hand, comparative critique of the London opening night, explores the show’s translation for British audiences, and delves into cast performances—while tactfully avoiding major plot spoilers as per the PR team’s request.

Key Discussion Points & Insights

Background on “Oh, Mary!” and Its Journey (02:00–06:45)

• Originated Off-Broadway, then triumphed with a commercial, star-studded run on Broadway.
• Notable casting on Broadway included Tina Fey, Jinkx Monsoon, and soon John Cameron Mitchell.
• The central challenge: Would an American-style, historically themed farce play as well with UK audiences?
• Lead role in London is played by Mason Alexander Park, known from stage and screen.

Navigating Spoilers and the Show’s Plot (06:45–11:38)

• PR requested critics not spoil several specific plot points, meaning parts of the review are intentionally vague.
• The comedic premise: Mary Todd Lincoln imagined as a “wildly funny, devious, maniacal, alcoholic former cabaret star” (09:12).
  • Escapist, anarchic, and “absolutely unhinged.”
  • The play is almost an “extended skit” built around Escola’s comedic persona.
• “It’s like a chapter in a history book that’s been defaced by a demented toddler with crayons—which may also have hallucinogenic properties.” — Mickey Jo (04:45)
• Central conceit: After her husband’s exasperated introduction, Mary bursts wordlessly into the Oval Office seeking hidden booze, revealing her cabaret past and utter chaos.

How Does “Oh, Mary!” Play in London? (13:08–18:30)

• Historical context is less of a barrier than some feared:
  • “I think British audiences…are way more likely to have some familiarity with the historical American players of O Mary than with Hamilton.” (13:18)
• Show opens with a playful voiceover summing up the “real” historical background, then gleefully derails it, setting the irreverent tone for all that follows.
• British comedic traditions align well: fans of “Little Britain,” “The Catherine Tate Show,” or “Operation Mincemeat” will recognize and appreciate the zany, character-driven humor.
• “Funny is funny, regardless, I like to think.” — Mickey Jo (15:12)
• Mickey Jo highlights the energy in the West End press night audience as rock concert-level, although he’s curious how it plays with midweek, older crowds.

Analysis of Script, Tone, and Direction (18:30–20:30)

• The production—directed by Sam Pinkleton—is energetically paced, with a script that feels improvisational and unpredictable in the best way.
  • The character of Mary is “deliberately unpredictable…delightfully unserious.”
• The play excels at “smart people writing stupid things”—a favorite Mickey Joism.
  • “It’s just bizarre and off the wall and objectively funny in a very silly and, in really, a very stupid way—the writing of which is deceptively intelligent.” (19:48)

The London Cast: Standouts and Comparative Notes (20:30–25:15)

Mason Alexander Park as Mary

• Closest to Cole Escola’s original conception, both vocally and in approach, but “feels younger, with more tenacity.”
• Described as a “hybrid between a diva and a clown,” possessing a physical fearlessness and a "snarling, animalistic quality” at times.
• Brings “high energy,” excels in physical comedy, notably during Mary's frantic first entrance and repeat physical gags.
  • “It's great, just clown work…willing to make an absolute physical fool of themselves while portraying someone who thinks of herself only with utter reverence.” (21:55)
• Contrasts with Escola: Park’s Mary is more self-sufficient—her vulnerability is less pronounced, so the audience laughs "with" her, not "at" her.

Giles Terera as “Mary’s Husband”

• Offers nuanced, “real acting” rather than just broad caricature; plays comic beats with subtlety while embracing the ridiculous at key turns.
• “He is so funny and there are little switch-up moments...which he plays with such a dedication. The comedy works when you just play it a little casually and with something of a more contemporary sensibility.” (24:45)
• Terera’s impact is compared favorably against previous actors in the role, including the original Broadway production.

Supporting Cast

• Dino Fetscher (Mary’s Teacher): Earnest, Austen-like charm, could exaggerate the inevitable “reveal” for more contrast.
• Oliver Stockley (Assistant): Deadpan foil in the midst of chaos.
• Kate O’Donnell (Chaperone): Strongly contrasts Mary in temperament and design, could “make some even bigger and perhaps slightly more dangerous choices” (25:05).
• Costume design by Holly Pearson noted for its contrasting theatricality (“Wednesday Addams and Friend”).

Most Notable Quotes & Memorable Moments

• "Absolutely unhinged. I would call this a lowbrow theatrical entertainment dressed as a highbrow theatrical entertainment."
  — Mickey Jo (07:23)

• "I don't think anyone is going to see O Mary on Broadway because they particularly relate to the story ... it is truly thousands of people seeing it every week on the basis that they've heard that it's hilarious and that it's the hit show to see."
  — Mickey Jo (07:54)

• On PR restrictions:
  "If it sounds like I'm speaking in code or desperately trying to dance around something that you would think I could easily just say ... that's what we're playing this evening in this review."
  — (06:38)

• "Funny is funny, regardless, I like to think ... I've seen enough new writing on either side of the Atlantic to know that there is a difference between the quintessential new American play and the ... new British play."
  — (05:44)

• "Mary is very much a diva, but a depressed and resentful one...a hybrid between a diva and a clown."
  — (22:26)

• "It’s not a commentary on American politics, on contemporary queer culture. It’s just ridiculous and funny, which is also all that it needs to be."
  — (31:00)

Recommendations & Final Take (27:10–31:15)

• Mickey Jo strongly recommends the show to “serious theatergoers,” with particular endorsement for queer audiences and fans of bold, silly comedy.
• The show likely won’t repeat its U.S. sell-out phenomenon but deserves a “respectable run” and possibly awards recognition.
• “This is some zany, bizarre escapism if ever I’ve seen it.” (27:45)
• No expectation of grand subtext or political commentary—its value lies in its craft as inspired, absurdist fun masquerading as something grander: “a delightfully silly, unserious, low brow comedy masquerading through its structural conventions…” (30:42)

Timestamps for Important Segments

• 02:00 — Origins and Broadway journey of “Oh, Mary!”
• 06:45 — Handling spoilers and explaining the show’s concept
• 13:08 — How the play translates for British audiences
• 18:30 — Script, direction, and the energy of the show
• 20:30 — Mason Alexander Park’s performance in detail
• 24:35 — Giles Terera and supporting cast breakdown
• 27:10 — Who should see “Oh, Mary!” and final recommendations
• 30:42 — Show’s intentions: not political, just pure, crafted comedy

For Listeners New to the Show

Mickey Jo’s review combines enthusiastic theatre expertise with accessible, honest language and good-natured wit. The episode provides a thorough sense of Oh, Mary!’s style and highlights, with key insights into the nuances of its West End run—perfect for those deciding whether to see it, or simply wanting to understand the current London theatre buzz.