Oh, Mary! It's Cole Escola!

Summary

The Broadway Show: Uncut - Episode Summary Episode: Oh, Mary! It's Cole Escola!
Release Date: July 13, 2024

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Introduction to "Oh, Mary!"

Host: Tamsen Fadal
Overview:
In this episode of "The Broadway Show: Uncut," host Tamsen Fadal introduces the audience to "Oh, Mary!," a groundbreaking Broadway comedy that reimagines Mary Todd Lincoln with a modern, humorous twist. The episode features an in-depth interview with Cole Escola, the playwright and actor behind the acclaimed production.

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First Impressions and Production Insight

Timestamp [00:04] - [01:00]

Tamsen Fadal:
Initiates the conversation by highlighting "Oh, Mary!" as the Broadway comedy of the summer and introduces Paul Wontorek, who provides his initial reactions to the show.

Paul Wontorek:
Expresses profound admiration for the play:
"Oh, Mary blew me away. I mean, it was fantastic. And I immediately said, Broadway. This, this needs to be on Broadway." ([00:20] - [00:27])
He praises the production's visual appeal and the theater's beauty, emphasizing his excitement about the show's Broadway presence.

Cole Escola:
Responds with enthusiasm and disbelief at the show's success:
"I can't believe, you know, being on Broadway is like one of those. It's like, yeah, I would love to be a supermodel someday. Or like, yeah, I would love to be a movie star, but I can't believe that it's actually real." ([00:36])

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Audience Reception and Broad Appeal

Timestamp [01:00] - [03:36]

Paul Wontorek:
Shares his appreciation for "Oh, Mary!" as a comedy that resonates deeply with audiences:
"I love seeing a real comedy that like fires on every cylinder. I mean, audiences... it felt like such a wall of laughter." ([01:46])
He highlights the universal appeal of the show, noting its ability to attract diverse audiences beyond its initial target.

Cole Escola:
Discusses the play’s unexpected broad appeal:
"At first, I wrote it for like my audience, which is just drunk gay people, and they loved it. And then more other types started coming and... but that's the goal also." ([01:46])
He reflects on the show's success in reaching a wider demographic than originally intended.

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Genesis and Creative Process of "Oh, Mary!"

Timestamp [03:36] - [07:51]

Paul Wontorek:
Inquires about the origins of the play and the moment Escola realized its potential for Broadway.

Cole Escola:
Shares the creative spark behind the play:
"It started with the idea for the play, which was, what if Abe's assassination wasn't such a bad thing for Mary Todd Lincoln? That was like an email that I sent to myself in 2009." ([03:42] - [03:53])
He describes the challenging yet exhilarating process of developing the script during the lockdown period, culminating in the play’s swift rise to Broadway within two days:
"But this just sort of, like, bolted out of me in, like, two days." ([05:08])
Escola emphasizes the rare and organic flow of creativity that led to the play's rapid production.

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Character Development and Queer Lens

Timestamp [07:51] - [09:41]

Paul Wontorek:
Explores Escola's approach to historical characters and the incorporation of a queer perspective.

Cole Escola:
Explains his affinity for reimagining historical figures with a personal and queer twist:
"All of the characters that I write are versions of myself. Things that are embarrassing to me, like my desire to be a cabaret star... and also, like, there's a lot of my heart in her as well." ([08:12])
He discusses how he infuses Mary Todd Lincoln with traits that reflect his own experiences and desires, adding depth and relatability to the character.

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Impact and Future Directions

Timestamp [09:41] - [11:57]

Paul Wontorek:
Asks Escola about the impact of the play’s success and how it has influenced his career trajectory.

Cole Escola:
Responds with humility and focus on creative fulfillment:
"It is really nice to have this validation, and I'm trying not to get too attached to it... I wrote this play because I wanted to challenge myself as a writer." ([09:41])
He emphasizes that the alignment of his creative vision with the production's execution is the true measure of success:
"The success for me is that, like, the germ of the idea that I had is what you see on the stage." ([10:30])
Escola credits the collaborative efforts of his team, especially Sam Pinkleton, for bringing the play to fruition and praises the collective creativity that made "Oh, Mary!" a reality.

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Conclusion and Welcome to Broadway

Timestamp [11:57] - [12:04]

Paul Wontorek and Cole Escola:
Conclude the interview with warm congratulations and reflections on the journey to Broadway.

Paul Wontorek:
“Thank you so much. Welcome to Broadway.” ([11:57])

Cole Escola:
“Thank you.” ([11:59])
The episode wraps up with Tamsen Fadal signing off, leaving listeners inspired by Escola's creative journey and the success of "Oh, Mary!"

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Key Takeaways

• Innovative Storytelling: "Oh, Mary!" offers a unique and humorous take on Mary Todd Lincoln, blending historical elements with modern comedy.
• Broad Appeal: Originally targeted at a niche audience, the play successfully attracts a diverse and expansive audience base.
• Creative Process: Cole Escola's organic and rapid development of the play during lockdown underscores the power of inspiration and dedication.
• Personal Infusion: Escola’s personal experiences and identity significantly shape the character of Mary Todd Lincoln, adding authenticity and depth.
• Collaborative Success: The play’s success is a testament to the collaborative efforts of Escola and his production team, particularly Sam Pinkleton.

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Notable Quotes

• Cole Escola on Writing:
  "I always had this question in my mind of, like, I think I could do it, but I don't know." ([03:42])

• Paul Wontorek on Audience Reaction:
  "When I saw it at the Lortel Theater... it felt like such a wall of laughter." ([01:46])

• Cole Escola on Validation:
  "The germ of the idea that I had is what you see on the stage." ([10:30])

• Cole Escola on Educational Impact:
  "Just assume that everything from this show is a lie. Like, please, please, please." ([07:11])

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Final Thoughts

This episode of "The Broadway Show: Uncut" provides an intimate look into the creative genius of Cole Escola and the making of "Oh, Mary!" Listeners gain valuable insights into the process of bringing a unique comedic vision to the Broadway stage, the importance of authenticity in character development, and the rewarding experience of seeing one's creative ideas thrive on a grand scale. Whether you're a Broadway enthusiast or someone interested in the arts, this episode offers an inspiring and comprehensive glimpse into contemporary theater production.

Transcript

[Tamsen Fadal]

It's the Broadway show Uncut. I'm so glad you're here. I'm Tamsen Fadal. O Mary is the Broadway comedy of the summer. It's a twisted and hilarious reimagining of Abraham Lincoln's wife, Mary Todd. Here's Paul Wontorek with more.

[Paul Wontorek]

Oh, Mary blew me away.

[Unknown Playwright/Actor]

Thanks.

[Paul Wontorek]

I mean, it was fantastic.

[Unknown Playwright/Actor]

Thank you.

[Paul Wontorek]

And I immediately said, broadway. This, this needs to be on Broadway.

[Unknown Playwright/Actor]

Thanks.

[Paul Wontorek]

And here it is.

[Unknown Playwright/Actor]

So that was you that made this?

[Paul Wontorek]

That was me. I tried. I did everything I could.

[Unknown Playwright/Actor]

Thanks.

[Paul Wontorek]

But, yeah, this is like, look at this beautiful theater.

[Unknown Playwright/Actor]

I can't believe it. Yeah, it's incredible. Yeah. I can't believe, you know, being on Broadway is like one of those. It's like, yeah, I would love to be a supermodel someday. Or like, yeah, I would love to be a movie star, but I can't believe that it's actually real. And for this, for this stupid show where I play Mary Todd Lincoln that I wrote, it's wild. I can't believe it.

[Paul Wontorek]

You know, I was actually thinking about, you know, you play Mary Todd Lincoln. You do realize that very famous first lady. But you know, she used to come to New York for like shopping. Right? Like down Ladies Mile.

[Unknown Playwright/Actor]

No. Yeah. She would come to New York on shopping sprees and then people were mad at her because there was a war going on.

[Paul Wontorek]

Did you do deep research like that into.

[Unknown Playwright/Actor]

That's. I did deep. Yeah. Last night, basically for this interview, but not for the show.

[Paul Wontorek]

Yeah. And one thing I really love about O Mary, I love seeing a real comedy that like fires on every cylinder. I mean, audiences. When I saw it at the Lortel Theater, all kinds of audiences, it felt like such a wall of laughter.

[Unknown Playwright/Actor]

Yeah. I mean, at first I wrote it for like my audience, which is just drunk gay people, and they loved it. And then more other types of started coming and. Yeah, I'm sort of weirded out by it, but I love it. I'm like, something's off. Why are they watching me now? But that's the goal also. Yeah, Yeah.

[Paul Wontorek]

I mean, you could do a 12 week run just on drunk gay people actually on Broadway. So I think that you can appeal beyond that.

[Unknown Playwright/Actor]

Thanks. Thank you.

[Paul Wontorek]

It's incredible.

[Unknown Playwright/Actor]

Thanks. Well, when I do Annie Warbucks, that's. That'll be the.

[Paul Wontorek]

Just the drunk gay people around you. Take a look at it.

[Unknown Playwright/Actor]

Okay, I will, I will.

[Paul Wontorek]

Some really good songs.

[Unknown Playwright/Actor]

You're really insisting.

[Paul Wontorek]

Yeah, but. But create like, you know, I talked about. You did so much on Television, where obviously you're not experiencing that amazing laughter. You've done a lot of things on stage as well. But I feel like O Mary must have been a special experience. Like, at what point when you got it on its feet did you realize, wait a minute, this might take me to Broadway?

[Unknown Playwright/Actor]

Oh, I really like, the biggest thrill for me was that that it got made at all, that it got produced. And. Yeah. I've just always been like, wanted to do something like this. Like a play that is funny and stupid. And I always had this question in my mind of, like, I think I could do it, but I don't know. Yeah. Anyway, all to say, when did I think maybe I could go to Broadway? I guess when the producers said, what are you doing this summer? Yeah, I love that.

[Paul Wontorek]

So where did this actually start? Is this just like you were in front of a laptop in your living room?

[Unknown Playwright/Actor]

It started with the idea for the play, which was, what if Abe's assassination wasn't such a bad thing for Mary Todd Lincoln? That was like an email that I sent to myself in 2009.

[Paul Wontorek]

Wow.

[Unknown Playwright/Actor]

And then I was so scared to write it because I wanted it. The idea excited me so much that I was scared that once I got it down on paper, I would be like, oh, damn, it's not. There's nothing there. Right. But then.

[Paul Wontorek]

So you lived with it.

[Unknown Playwright/Actor]

I lived with it. And I would like.

[Paul Wontorek]

You walk around thinking about this.

[Unknown Playwright/Actor]

Yeah. And I would tell people every once in a while, and I was like, really looking for permission from someone to write it. Like I was waiting for, you know, I would tell a friend about the idea, hoping that they would just like, grab me by the shoulders and be like, this is the best thing I've ever heard. You need to write this right now. Instead, my friends had natural reactions, which was. Which were like, that sounds great, you should do it. And I would be like, okay, so you hate it and I'm never gonna write it. It's stupid. It's stupid. Nevermind, forget it. And then during lockdown, I had nothing going on. And so I was like, well, now or never. And then I wrote it and then. And then two days later, it ended up on Broadway. Two days is all.

[Paul Wontorek]

Did it just come out of you?

[Unknown Playwright/Actor]

Like, it actually did.

[Paul Wontorek]

It feels like when you watch as an audience member, it just feels like it just kind of flies. And I just. I picture just flying out of your brain.

[Unknown Playwright/Actor]

It kind of. I mean, I guess because I had been stewing on it so long and like, sending myself little ideas here and there. But it was just one of those really, really, really rare things that just poured out of me in, like, two days. Everything else that I've written has taken months, years to, like, even get to a decent, I think, decent place. But this just sort of, like, bolted out of my.

[Paul Wontorek]

Do you like playing with real historical characters and adding a queer lens to it?

[Unknown Playwright/Actor]

Yeah, I like playing people that sort of aren't known for, like, big characteristics. You know, like, I used to do this really awful, terrible, like, bastardization of an impression of Bernadette Peters because she's not someone that has, like, she's not super mannered. And so I could just make up a whole other character that she's not. And then I've done the same thing to Mary Todd Lincoln.

[Paul Wontorek]

Do you still. Do you still take on Bernadette or are you now too close to her as a fellow Broadway star?

[Unknown Playwright/Actor]

No, I just. I think I took that really stupid version of that character as far as it could go, and now it's time to move on to other people that maybe aren't alive.

[Paul Wontorek]

So Mary Todd Lincoln had dreams of being a Bernadette Peters.

[Unknown Playwright/Actor]

Being a performer, according to me. Yeah.

[Paul Wontorek]

Exciting.

[Unknown Playwright/Actor]

Yeah. Yeah.

[Paul Wontorek]

I mean, is it fun to sort of just make up your own. You know, I think we're in a world where it's sort of like, what is the truth about history? And, you know, there's sort of this thing about, well, which version of a story are you reading? Yeah, you're actually maybe going to be educating people incorrectly.

[Unknown Playwright/Actor]

No, I've had people say to me afterwards, like, I had to Google, like, I didn't. I didn't know, like, what was true and what was not. And I was like, oh, my God. No, don't. Don't Google. Just assume that everything from this show is a lie. Like, please, please, please. But I. Yeah, I mean, I guess especially for comedy, it's nice for everyone to have the same, like, expectations and then you subvert the. So it's more like. It's less about, like, queering history and more of, like, okay, what's something everyone knows about the Lincolns? And then what would be, like, what would be something stupid that Mary Todd could do?

[Paul Wontorek]

How did you actually come up with the characterization of her? I mean, I know Sally Field is now a friend and obviously she took on this role as well.

[Unknown Playwright/Actor]

Sure. Well, I sort of coached her.

[Paul Wontorek]

Yeah, but what was your take on her? And even the visual of her, the choice of the now legendary costume.

[Unknown Playwright/Actor]

Yeah, I just. I mean, she's me Essentially, she's all, like. All of the characters that I write are versions of myself. Things that are embarrassing to me, like my desire to be a cabaret star. My, like, sort of selfish, greedy, alcoholism. And then also, like, there's a lot of my heart in her as well. Like, I do have a soft spot for my dream to be a cabaret star. And also her. Mary's desire to be in love and, like, her fear of good things happening to her.

[Paul Wontorek]

Yeah, well, talk about sort of. You've had. You've built such an interesting career, and I didn't see this coming.

[Unknown Playwright/Actor]

And it's all been on purpose. Everything was methodical and planned out, and I've had my choice of no moments of desperation.

[Paul Wontorek]

That's completely how you wrote it out.

[Unknown Playwright/Actor]

Yeah, yeah, yeah, exactly.

[Paul Wontorek]

So, like, when you think about the. I guess, what is the success of O Mary? Has it opened up your eyes at all about, you know, when you get taken seriously as a theatrical critical sensation and you got amazing reviews, you're winning awards for this, you're coming to Broadway with a lot of attention. Has that changed your direction at all or changed how you're sort of thinking about things?

[Unknown Playwright/Actor]

No, it is. No, but it is really nice. It's nice to have this validation, and I'm trying not to get too attached to it. I think it's something maybe Susan Blackwell once said, probably in an interview with you, who knows? But where she was like, just like, pick it up, look at it, admire it, and then put it down. And I. Yeah, I just. I wrote this play because I wanted to challenge myself as a writer. Like, I never. I had written, like, solo sketch stuff and, like, TV pilots and scripts for other people. And this was something that felt like a creative challenge to me. And before even the reviews and before the awards and stuff, I was just so, like, thrilled that what you see on the stage matches exactly my idea, like, my dream for the show. And that is such a rare thing to happen, I think, for any artist. Probably. I don't know, a lot of artists, I keep friends with pretty trashy people, but I. Yeah, that was like. That's the success for me is that, like, the germ of the idea that I had is what you see on the stage. I've had many germs of ideas that the finished piece doesn't match. And I've had to, like, make peace with those shortcomings or, like, incorporate them into the piece or compromise. Make compromises. So, yeah, and obviously, like, it's because of the team. Like, Sam Pinkleton, do you know Sam. I don't. He's. He's the best.

[Paul Wontorek]

Yeah.

[Unknown Playwright/Actor]

Yeah. His face should be up there right next to Mary Tyler Moore. And it will be if I have anything to say about it.

[Paul Wontorek]

I don't know. I think we're gonna see you both up here on this wall.

[Unknown Playwright/Actor]

Well, for Annie Warbucks. Yes. Yeah.

[Paul Wontorek]

Thank you so much. Welcome to Broadway.

[Unknown Playwright/Actor]

Thank you.

[Tamsen Fadal]

That's gonna do it for this week's episode of the podcast. Until next time, I'm Tamsen Fadal, and you're listening to the Broadway show Un.