Elevator Thoughts (aka Tweet): Cole Escola’s campy sensation Oh, Mary! national tour at Paramount Theatre via STG & Broadway Across America. Starring Alaska Thunderfuck. Unexpected SNL-style deadpans and a hilariously unhinged spin on gay history. The sound/lighting design worked in crisp synchronicity. Unexpected final twists. A unique chaotic drag play. đźŽâś¨
See it if you enjoy drag, SNL, or cabaret.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Maybe
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): Mary Todd Lincoln dreams of a cabaret career comeback. But her gay husband keeps holding her back.
Synopsis from the Licensor or Theatre Company: Oh, Mary! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Few
Static (Stationary) or Dynamic Set: Dynamic-ish
Prior Exposure/Knowledge Required: You must have some surface level knowledge of the American Civil War.
Defined Plot/Storyline: Yes, but it was more dialogue than action. Fortunately, the dialogue was not boring exposition.
Live Band/Orchestra: Kind of?
Union Actor(s): All
Total Actor(s): 5
Perceived Pace of the Show: Medium to fast
Was there an intermission? No
Length (Including Any Intermission): 80 minutes
Other Rave(s)
- Untarnished Novelty and Creative Freedom: The most striking aspect of the production was how it felt unadulterated from mainstream commercial influence. That distinct tone was established before the curtain even rose, set by an unorthodox eclectic gay pre-show personal playlist anchored by Grace Jones’ catchy disco cover of “Tomorrow.” The script made it clear that the producers granted Cole Escola more creative autonomy than most other Broadway shows. While the hype for the show set exceptionally high expectations for me that weren’t met (and my personal tastes often lean toward traditional formulaic musicals with tap numbers), this show succeeded in legitimizing drag cabaret and SNL sketch-style comedy on the mainstage. Much like Hamilton did for hip-hop rap, it carved out a place for a niche genre in mainstream theatre. While I consider Oh, Mary! and Hamilton overhyped, they stand out as untarnished works that remain faithful to their creators’ uncompromising visions. That’s what makes them so unique to the American theatre repertoire … and thus so successful/popular.
- Lighting and Sound Design: Sound designers Daniel Kluger and Drew Levy crafted a rich, expressive piano soundscape, arranged by David Dabbon and brought to life by pianist Natalie Tenenbaum. This auditory layer synchronized impeccably with stark, clean lighting transitions designed by Cha See that snapped between scenes with punchy precision.
- Deadpans and Punchlines: Rooted in drag cabaret traditions, the script thrived on delicious deadpans and unexpected punchlines. Comedy relies heavily on surprise, truth, and superiority, all of which the writing delivered in abundance. Key highlights included impeccably timed deliveries of lines like “I’m sorry for being a cunt,” “I’m so wet,” and a random observation comparing subtext to being inbred.
- Wesley Taylor: Wesley Taylor delivered a standout turn as Mary’s gallant amorous teacher. His performance embraced a humorous “pocket gay” archetype, made all the more endearing and funny by the physical height dynamic between him and Alaska Thunderfuck. Designer Holly Pierson complemented his performance with tailored costuming that undeniably did wonders for his cake on stage.
- Integration of Gay Lore: Speaking of ASSets, one of the show’s strongest was its seamless embedding of historical and queer lore into the narrative. The audience was rewarded with a brilliant “Oh God!” scene.
Other Musing(s) and Observation(s)
- Gender and Drag Dynamics: During the show, I couldn’t help but wonder about the mechanics of drag and theatrical satire. It was difficult to imagine Mary Todd Lincoln’s absurdities landing with the same comedic weight if portrayed by a cisgender woman. I wonder how Jane Krakowski’s short stint in the role in NYC landed with the audience in comparison to a cisgender man. This performance sparked broader reflection on gender dynamics in comedy, particularly why drag queens elicit immediate hilarity compared to drag kings. Traditional tropes of female caricature often intersect with camp humor. When Mary exclaims “Oh Mary, you boob!” Why is “boob” bad? Is drag misogyny?
Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are still eligible for an organization discount.
Dates: November 3 to 8, 2026
Seating: Assigned Seats
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
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Buy a Ticket or Learn More:
- https://www.ohmaryplay.com/tour/home
- https://www.stgpresents.org/events/oh-mary/
- https://seattle.broadway.com/shows/oh-mary/
- Program
Photos: See production photos below by Evan Zimmerman from MurphyMade.
Cast and Production Team: See after photos below.
“OH, MARY!”
A NEW PLAY BY COLE ESCOLA
Cast
- Mary Todd Lincoln: Alaska Thunderfuck
- Mary’s Husband: John-Andrew Morrison
- Mary’s Teacher: Wesley Taylor
- Mary’s Chaperone/Bill: Pooya Mohseni
- Mary’s Husband’s Assistant/Kyle: Michael Lepore
Understudies
Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance.
- For Mary Todd Lincoln and Mary’s Chaperone/Bill: Natalie Joy Johnson
- For Mary’s Husband’s Assistant/Kyle and Mary’s Teacher: Mike Cefalo
- For Mary’s Husband and Mary’s Teacher: Julius Thomas III
Scan this code to view the cast list for this performance:
Creative Team
- Scenic Designer: dots
- Costume Designer: Holly Pierson
- Lighting Designer: Cha See
- Sound Designer: Daniel Kluger & Drew Levy
- Wig Designer: Leah J. Loukas
- Original Music: Daniel Kluger
- Arrangements: David Dabbon
- Casting Director: Henry Russell Bergstein, CSA
- Associate Director: Sunny Min-Sook Hitt
Production, Management & Press
- Advertising & Marketing: RPM
- National Press: grapevine pr
- Social Media: Austin Spero
- Tour Marketing & Press: Allied Global Marketing
- General Manager: Showtown Theatricals (Nathan Gehan, Rebecca Crigler)
- Production Supervision: Hudson Theatrical Associates
- Tour Booking Agency: The Booking Group (Meredith Blair, Kara Gebhart)
- Company Manager: Wes Haskell
- Production Stage Manager: Seth F. Barker
- Producers: Kevin McCollum & Lucas McMahon, Mike LaVoie & Carlee Briglia, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares Miller & Rosenberg, Showtown Productions
Direction
Entire Production Directed by Sam Pinkleton