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Given that this show managed to make its way against all odds from plucky downtown off Broadway origins to ongoing sellout smash hit Broadway success, it isn't totally surprising that people were questioning whether or not it would work in London. And not to sound like a total clickbait article, but if you have been one of those people asking for the past few months whether or not Omari will work in the West End, I'm here to let you know that I just saw the opening night performance at the Trafalgar Theatre and the answer may surprise you. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this review on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre as a critic and content creator here on social media. This evening I was invited to see one of the final London press nights of 2025 in the West End. This was the opening night performance of O Mary, the comedy play written written by Cola Scola, who also originated the role of Mary Todd Lincoln. The show first premiered off Broadway downtown at the Lucille Lortel Theater where I saw it during its final couple weeks of performances before transferring to the Lyceum Theatre on Broadway where it continues to run very successfully. Thanks to some early buzz, a lot of enthusiasm around the show, it becoming the hot ticket of the moment and some astonishing star casting replacements including the likes of Titus Burgess Jane who is currently playing the role, and Jinkx Monsoon who sold out almost all of her entire run and is set to return to the show next year before being replaced by John Cameron Mitchell. Audiences were very excited then to learn who was going to be playing the role of Mary in London, and the answer eventually revealed was rising stage star, also known for their work on screen, the brilliant Mason Alexander park. And after a couple weeks of preview performances at the Trafalgar Theatre tonight, the show officially opened and critics this side of the Atlantic finally got to see what O Mary was all about. Of course, by this point I have seen the show three times in the US already, so I was very excited to watch it through that particular lens, knowing how well it could be enjoyed and has been enjoyed by American audiences, and comparing the response that it was going to get in the uk, which is one of the aspects of this production that we will be talking about in today's review. How well does the material translate? Not just because the content is about a chapter in American history and I say a chapter, I use that word just so, so loosely. It's like a chapter in a history book that's been defaced by a demented Todd Crayons, which may also have hallucinogenic properties, but also because the tone of the whole thing and the comedy of the whole thing has been called very American, and there was some question of how this was going to play to our delicate British sensibilities, which I would take offense at if it wasn't also quite true. And at this point 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 quintessential new British play. In any case, we'll be talking about that as well as the new London cast. And for those of you potentially from the UK who haven't heard anything about Omar before, this is, after all, my first time talking about it in a dedicated standalone review here on my channels. I will be doing my best to explain as much of the plot as I'm allowed to tell you about. I will explain why momentarily. But we're going to talk about O Mary. You can say whatever you want in the comments section down below. If you have had the pleasure of seeing O Mary already, I'm particularly interested to hear from anyone who has seen the play in London. Let me know what you thought of it and the performances and the general audience response during previews because I saw an opening night audience which is always going to be a little inflated in terms of its enthusiasm. I want to know how the real people are responding to Omar. And as always, if you enjoy listening to what I have to say about the show, make sure to subscribe or follow me wherever you are, seeing my face or hearing my voice. In the meantime, let us talk about O Mary in London. Now, here's the thing. And this wasn't a disclaimer I was anticipating, including as part of this review. But as the curtain fell on tonight's opening night performance at the Trafalgar theat, instructions were given to us, those who would be reviewing it by the show's PR representatives that there were various plot points which they would rather weren't disclosed in reviews. Which is fair enough. And while I don't necessarily think that it's, you know, O mouse trap, I get them not wanting people to have their first experience of the show spoiled because there are certain revelations within Omari's narrative which are fun to find out in real time. And I would say that the email they sent out had like five utterly reasonable requests and then just two or three which were a little bit more extreme and I fear may actually inhibit me from being able to explain what this show is about to you without sounding like a crazy person. So we're going to do our very best here. But 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, perhaps not saying a certain name. What's the name of the game? Is it taboo where you have like a card and there's various things in the card you're not allowed to say? That's what we're playing this evening in this review. With that being said, we're going to embark on what is potentially going to be a deranged comedy all of its own. So. Oh Mary. New comedy play by Cole Escola. Absolutely unhinged. I would call this a lowbrow theatrical entertainment dressed as a highbrow theatrical entertainment. And it's been a fascinating, joyous experience to watch it attain the Broadway success which it has found. I think in many ways it feels a lot like a throwback to yesteryear when, you know, the hit shows on Broadway or in the West End in decades past, and we're talking way back in the mid to late 20th century were like racy comedies and farces and there are a lot of, to this day, like long running West End hits that were comedy plays. Also, the notion that a show's word of mouth can be so good it transcends all levels of marketing. 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. Much of which was as a result of the very celebrated original performance of writer and star Calla Scola as Mary Todd, who very much seems to have written this extended skit of a play around their own comedic capabilities as an unhinged character performer. Like some of the most famous and celebrated Saturday Night Live alumni I'm talking about like Kate McKinnon and Maya Rudolph, but also going back to like Mike Myers, a lot of their most beloved and successful characters were often just vehicles for to be funny as themselves. Kristen Wiig being another great example of this, I think. And very much in that same vein, Cole's performance as Mary Todd and the material Cole has written for Mary Todd has never made any attempt to bear any kind of a historic resemblance. When the play was moving to Broadway, Cole did the talk show circuit and explained that little to no research was done on Mary Todd as a historical figure before this play was put together. It's very much just this funny idea of a concept that Cole seems to have picked up and ran with. And for those of you who know abso nothing about this play and wondering who Mary Todd even was as a historical figure, well, she was a former first lady of the United States whose husband was the President, hence her being the first lady. And he was Mary's husband. And that is everything that I am allowed to tell you about that. And at the beginning of the play he is facing many different personal challenges. Not only is the nation at war and his approval ratings are sinking as a result, but more pressingly, he is concerned with the erratic behavior of his deranged wife, who he quickly explains is a committed alcoholic and a monster. Soon enough we meet Mary ourselves as she begins to wordlessly tear through the Oval Office in search of a secreted bottle of liquor, eventually revealing, amidst one of many arguments with her husband, that one of the reasons behind her drinking is a sorrow about the fact that she no longer is permitted to perform on the stage as a, well, as she puts it, a niche former cabaret legend. By which point we have gathered much of the conceit of the play, Carla has envisioned Mary Todd Lincoln, a complicated woman by all accounts as a wildly funny, devious, maniacal, alcoholic former cabaret star, from which emerges much, but not quite all of the show's comedy. There are other details that complement this cartoonish depiction of the then White House, which I shan't divulge to you, but the entire thing, through this attains this anarchic, queer energy which, curiously enough, remains present in the show regardless of who it is who is playing Mary. Not unlike a sort of a drag character in her own right, she is so outrageous and explosive and volatile and extreme that the gender identity of the performer portraying her scarcely matters. By the time they have put on the now iconic bratty curled wig, not forgetting the hoop skirt, and Mary is every bit the star not only of this play, but also every passing moment of her own life. We see her receiving acting lessons from a teacher. We see her trying to find new devious ways to amuse herself alongside a chaperone who she sort of resents. And though she is sort of undeniably demonic, she does eventually become a strangely endearing underdog to us as well. Having now seen a bunch of times, that's my interpretation of the material at least. Let's talk a little bit about how well it translates to a.
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False.
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T.R.
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False. That's gotta be true again.
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Sounds too good to be true.
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Carvana.
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British Audience. Now One thing which I feel is important to acknowledge here, that Hamilton obviously was huge, continues to be absolutely huge on Broadway and broke through into mainstream cultural consciousness was this era defining hit. It transferred to the West End before too long where it has been ongoingly very, very successful. And that is far more heavily rooted in the specificity of American history and I think less known events of American history than I was about to say a name again, the ones depicted around the particular the who was the president at the time of O Mary. So crazy I'm not allowed to say this. You can google it so fast. In the ludicrousity of this situation, I've actually forgotten entirely where I got up to with that sentence. My point is, I think British audiences in general are way more likely to have some kind of familiarity with the historical American players of O Mary than with Hamilton. And Hamilton is so dense. It's also sung and sung quickly. I think it's way more inaccessible. And yet in spite of that, because it's just a great show and it's telling a great, ultimately relatable story about the founding of a nation and the human beings at the center of that and their ambition and their desire for legacy. This is dangerously close to becoming a review of a different show that connects to audiences regardless of their prior knowledge of all of these different characters. And the ones in O Mary in any case are far better known. I also don't think that it matters and I believe a little voiceover prologue pre show has been added for the West End production. It's possible that this also exists on Broadway, but I I don't remember it. Which seemed to me to be the voice of writer Carla Skola explaining who Mary's husband was over a couple of sentences in accurate historical detail. Just the couple of key points that audiences would need as context for everything that is going to happen in the play. Before finishing with a single sentence introducing Mary, simply saying his wife was named Mary, which is the perfect way to start the show, giving us just the perfect little buzz of excitement, but also contrasting the level of explanation about him with nothing said about her. Because like I said Total detachment from historical reality. This is Cole's version of Mary. The next sentence may as well be, you know, her name was Mary. And this is what I imagine she might have been like. And I'm pleased to say, press night audience notwithstanding, that tonight it went down real well. It played like a rock concert this evening. And I think funny is funny. Regardless, I would be really intrigued to see how this plays throughout its run with like a middle of the week audience who might skew a little bit older. And there have been plays that have crossed over the Atlantic that I think have proven way more challenging. I think the harder thing for British audiences is a style of American writing that is sort of plot light and more introspective and more engaging with identity politics. Something like slave play or something like Samuel D. Hunter's Clarkston, which was a previous tenant at the Trafalgar Theatre, I think actually proves more inaccessible to a British audience who by and large would emerge from a work like that and say, well, nothing really happened than something like, oh, Mary. I like to think that funny is funny. And while it won't necessarily be everybody's cup of tea, we are also accustomed to a lot of these deranged, maniacal, bizarre, extreme comedy characters. On sketch shows like Little Britain, like the Catherine Tate show, there's an awful lot of zany comedy that has looked like this. Parts of this show, in its silliness, are not a million miles from the likes of Operation Mincemeat. And something I've always found incredibly charming about O Mary is the way that it breaks its own rules in order to play with multiple different comedic ideas in sequence. This is also so brilliantly directed at pace by Sam Pinkleton, but there's a really playful and evasive energy around the character of Mary herself, who feels sort of deliberately unpredictable. You think she is going to react in a certain way, and the tone of her own material sort of shifts from one scene to the next. And she goes from indignant and outspoken and self assured to shy and bashful and full of self doubt, motivating her to behave in these real waves of, like, kindness and gentle generosity and then an absolute ruthless menace. Though the script is set and performed consistently, much of it is written in a way that feels sort of deliberately loose and improvisational, especially an extended scene in which Mary is auditioning out to the audience and clearly covering her nerves with just an awful lot of chatter. But as far as discernible differences go between the show itself and the way that it played on Broadway versus in the West End. I think there might have been perhaps, perhaps even more shock around some of the more outrageous revelations of the plot, but nothing that felt so crass that it registered anywhere near offensive. But at the end of the day, I think it's a show that really just rises or falls based on whether or not we're laughing at Mary. And she's the kind of a character who, like Rick Mayle or Matt Lucas, would have played in the early 2000s. Like, it's very much in proximity to things that we already recognize and find to be funny in a completely crazed way. Way. I think there's an appetite for a slight quantity of political correctness, but I love when that is delivered via queer artistry in a way that doesn't feel like it's punching down. 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. And that's my favorite kind of humor, when smart people write stupid things. The other creeping difference, I think, between the two productions is in the performances by this cast. Let me tell you more about the London cast of O Mary. Now, the difference is a very subtle one. But before I tell you about individuals and of course, the wonderful Mason Alexander park, what I notice generally is that the play and its characters are treated a little bit less like broad, casual stereotypes and with a little bit more seriousness and acting sincerity, not at the expense of them being funny, but like with Giles Torreira. Oh, and I nearly said it again, as Mary's husband, it feels like a lot of the choices that he is making are more motivated by a legitimate thought process rather than just putting on the hat and the beard. And it doesn't surprise me because I think that's the way that a British company would approach doing this particular play. That feels like another difference between how we make theatre in the UK versus in the us. But before we talk more about Giles as Mary's husband, let's talk about Mary and Mason Alexander Park. In spite of my inclination that they were going to feel like a completely different Mary feels very, very familiar of Cole's creation and feels probably like one of the performers to have now played this role who is closest to Cole. Not only is the voice sort of quite similar, but just the general approach, I would say that Mason's Mary feels younger, like she has more of a tenacity. But Cole was brattier, and Cole eventually, by sort of the second half of the play, reached a place of real affecting vulnerability and we end up feeling, I think, quite sorry for Mary and the circumstances that she finds herself in. We don't necessarily feel that with Mason, because Mason's Mary can stand up for herself at every juncture and remain someone who we enjoy laughing at. And not in a mean way, but just because she is something of a hybrid between a diva and a clown. Which works. Which absolutely works. Now, I've seen Mason before in a bunch of different roles, and always this captivating, enigmatic, fascinating creature. I also know Mason to be an established cabaret star, which makes their casting in this role ironic, as is the fact that there is a reference to the Tempest, which is one of Mason's breakout roles on the London stage as Ariel, doing fantastic work in Shakespeare, which led to, just say, Mary does not necessarily replicate, but a lot of the stuff that Mason's doing on this particular stage I had never seen them do before. And it's the early stuff. It's these moments of physical comedy. Mary's first entrance is rushing in in this hunched posture, sort of glaring out and hissing even as the audience go nuts to applaud the arrival of the show's star. And then scouring the overall office for this bottle of liquor and eventually sniffing it out like a dog. It's a hysterical, extended, bravely silent, bravely long, old school physical comedy scene, taking us back to somewhere between, like, Lucille Ball and Charlie Chaplin. We then learn more about Mason's Mary in conversation with her husband through this confrontation, through her resentment of Louise, and we discover her to be petulant and frustrated with a wicked sense of humor. Mason's, I think, is a more high energy performance than any that I've seen before and so many great physical moments, and it's a repetition of physicality. There's a moment where Mary is being shaken and Mason throws their arms up sideways, which gets a great laugh. There's a moment when Mary is throwing up into a bucket and it's an exact repeat of two very contrasting postures before vomiting into the bucket on multiple occasions. It's like I said, it's great, just clown work. And it's a level of silliness from a performer who. Who I think is willing to make an absolute physical fool of themselves while portraying someone who thinks of herself only with utter reverence. Mary is very much a diva, but a depressed and resentful one. And the emerging quality of Mason's Mary, which is different to either of the others that I had seen previously, including Cole, is this sort of a snarling, animalistic quality which just on a couple of occasions came at the expense of a little bit of clarity in the line delivery. But it's an impressively energized performance. Performance at a relentless pace which contends with all of these dark and sorrowful statements without ever going to a place that bums us out. It looks fun to do on stage. Mason makes this material look like so much fun and we have fun watching it. And that I think is the key.
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Delivery available for select devices purchased@boostmobile.com thing with Mary. As complimented of course by a supporting cast including the brilliant Giles Torreira as Mary's husband, an actor of such extraordinary power on stage who I have come to appreciate so, so much that I forgot that he had an extensive past of playing great comedy characters. I forgot how funny Giles Torreira was because he has been so impactful and so affecting in serious roles for many years now, largely since his I think career redefining performance as Aaron Burr in the original West End cast of Hamilton. Funny that then for him to be playing the role that he is playing Mary's husband in the transfer of this but he is so funny and there are little switch up moments in his character which if you know the play, you will know exactly what I'm talking about. Which he plays with such a dedication. The comedy there works when you just play it a little casually and with something of a more contemporary sensibility. Mary's energy and comedy and vocabulary feels entirely anachronistic to the time period. While by and large the other characters around her speak as though they understand what time period they're meant to be in. But when he has those sort of mask slipping moments of revealing himself to be in some ways as much of a ridiculous cartoon character as Mary. When you find out about this sort of two pronged comedic reinterpretation of this marriage, I love that Giles plays it as dedicatedly as he does, that he approaches it with a real acting focus. But still this level of wide eyed comedy. And it's very different to any of the Mary's husbands who I've seen before. But maybe my favourite interpretation actually, and I say cartoon character. I did want to mention actually because this struck me earlier that everyone talks about Miss Piggy as someone who would live on the Pinterest board of inspirations for Mary and they'd love to see Ms. Piggy's interpretation of the role. I also think the character herself is quite close to Roger from American dad, just on so many levels. The longer you think about that, the more it makes sense. The principal company is concluded by Dino Fetcher as Mary's teacher, Kate o' Donnell as Mary Chaperone and Oliver Stockley as Mary's husband's assistant. That's the wording. Each of whom I enjoyed very much in their roles. Dino is another one who gets to enjoy a real pivot moment as the play develops, which I think could be even more pronounced. And perhaps there's a certain quality. I'm trying not to break the law with embargoed material here that could be played up a little bit more in his earlier scenes. So that when there is a shift it's even more obvious because my favorite versions of that character have had a real sudden change. Almost like it's someone doing a certain type of a voice that then goes away and you find out what their real voice is and doesn't literally have to be that. But I think a lot of comedy can arise from that moment of revelation and you can then just punctuate it even more. But I like the way he plays his early scenes. It's sort of reminiscent of a lot of the more earnest and emotionally available male characters from Jane Austen novels. Very sweeping, very romantic, very charming. Oliver Stockley, meanwhile, does well simply to keep a straight face while facilitating some of the more outrageous moments of visual comedy. Kate o' Donnell I enjoyed as Mary's chaperone. I think this part was played extraordinarily well in the original Broadway production and I like that she is so in contrast to Mary, not just in sunny personality. As Mary is lamenting her existence and resenting the needlework lesson that she is being subjected to by Louise but also in the way that the two of them are costumed. It's very Wednesday Addams and Friend, the costume design being from Holly Pearson, but I think Kate could actually stand to make some even bigger and perhaps slightly more dangerous choices with this material as well. Tonally, it's all in exactly the right place. All of the laughs are happening at the right time. I think that a lot of the company could continue to push this even further, as I'm sure they will continue to do throughout the run. There are also some very exciting rising stars understudying in these roles who I would love to get the chance to see. If anyone's working on Omarion, watching this and can get me into a cover run performance. I don't want to review it. I just want to come and watch because I'm fan hands of a lot of your understudies and I think they're going to be really exciting. So to whom do I recommend O Mary in the West End? I think anyone who considers themselves to be a serious theater goer needs to go and catch this one at the Trafalgar. I don't necessarily anticipate the play having the same extended celebrity cast, star studded, sellout hit status that it has had in the us. I think if it has a respectable run, maybe gets a little bit of awards, recognition or nominations, then that would be a great achievement for Omar. It is the best work I think Mason has done thus far on the London stage, and Mason has already done some incredible work. If you have seen their performances in the Jamie Lloyd Shakespeare plays or in cabaret, you already know what a captivating performer they are. Truly mesmerizing. Also a legitimate cabaret star with a sort of winningly mischievous charm. Obviously queer audiences need to get out and see this show, but I think there is something so culturally accessible about it. In spite of all of the conversation of, you know, is it going to work in the uk? I think one of the best things about it is that so many people will go and laugh at this play, which for a lot of people is all they want to do at the theatre right now. This is some zany, bizarre escapism if ever I've seen it. And I was sat there in the final few scenes of the play thinking to myself, is there something deeper here? Is there something more that Cora Scola is getting at? Is there some sort of more incisive subtext? This play was talked about in conversation for the Pulitzer Prize and the Tony Award for Best New Play. It was considered to be a frontrunner potentially for both of those. And upon reflection, I think the answer is no. I think it has such a charm. I think it is the this delightfully silly, unserious, low brow comedy masquerading through its structural conventions, through these blackout scene changes, with these old timey piano accompanied transitions, with the design of the whole thing, with the costuming, with the way that Mary is characterized, at odds with her surroundings and the era in which we find her. That is also emblematic of the play itself. And that I think is brilliant. Brilliant choice created in collaboration between Cora Scola and Sam Pinkleton, but I don't think there's anything much bigger than that. 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. Audiences are drinking this up at the Trafalgar Theatre. It's hysterically funny, as great as I have ever seen it. Go and check it out for yourselves and then come back here and let us all know what you think thought. If you've already seen it, then head straight to the comments section. Share all of your thoughts about O Mary and this London cast. In the meantime, thank you so much for listening to this review. I hope that you enjoyed. If you did, make sure to subscribe to my theatre themed YouTube channel or go follow me on podcast platforms. As always, I hope 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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About giving something truly special. I'm Martha Stewart and I believe the best gifts aren't just beautiful, they're useful every single day today. Lennox has brought timeless beauty and lasting quality to our tables for generations, and their Lennox Spice Village is the perfect holiday gift for someone you love or for yourself. It's more than a spice rack. It's a charming collection of hand painted houses that turn ordinary spices into extraordinary experiences. Imagine cinnamon from a tiny Victorian cottage or oregano from a pastel townhouse. Suddenly, a simple meal becomes a moment to savor. Because spices can be more than ingredients, they can inspire memories, warmth and joy all year long. Give a gift that lasts beyond the holidays. Discover the collection@lenox.com SpiceVillage Our HBCUs have.
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A legacy that's straight up golden, and McDonald's is proud to help keep it that way. Since 2021, the Golden Arches has connected with the Thurgood Marshall College fund to provide $1 million in scholarships for students headed to our HBCUs. That kind of cash helps keep bright minds on the yard dreams within reach and the future golden. Learn more about McDonald's Black and Positively Golden Scholarships at mcdblackscholars.com.