Jude Cramer

With a barrage of clever metaphors and thinly veiled references to her real-world career, Mulvaney takes audiences on a ride through the milestones of her life, from surviving Catholic school to her “Days of Girlhood” TikTok series to the Beergate controversy that made her reevaluate her brand and her place as one of the most visible trans women on social media. Fans of Mulvaney’s will appreciate the nods to her best-known moments, while those less familiar with pop culture may sometimes be left adrift. But odds are they’ll be having too much fun to care.

The show has much more to offer than laughs. It’s compelling: family drama is family drama, even (or especially) when the royal family is the household in question. It’s profound: meditations on the intersection of privilege and queerness are well worth your attendance even if you’re not a royal yourself. It’s erotic: the play’s explicit scenes bring a rare level of authenticity to queer kink. The thoughtful intimacy direction by UnkleDave’s Fight-House proves that well-executed, intentional sex scenes across media can — and should! — hold narrative importance, despite what modern-day puritans may espouse online.

From top to bottom (and yes, those jokes are included, too), Oh, Mary!‘s sharp writing, breakneck pace, and campy performances keep the theater in hysterics until the curtain falls. The unapologetically silly script delivers simultaneous broad comedy and social commentary. Despite the Civil War raging on, Mary has no idea what her husband means by “the South,” thinks the concept of subtext is a lot like being inbred, and finds glee as her chaperone (Bianca Leigh) discovers her G-spot by a wayward scoop of vanilla ice cream. It’s all almost as ridiculous as actual American politics.