Review: OH, MARY! at Curran Theatre

What happens when one of America's most recognizable First Ladies becomes a foul-mouthed, cabaret-obsessed, and completely unhinged theatrical sensation?

Oh, Mary! has officially arrived at San Francisco's Curran Theatre, and I can confidently say that the hype surrounding this outrageously funny comedy is entirely justified. Written by Cole Escola and directed by Sam Pinkleton, this wildly unconventional take on Mary Todd Lincoln's life throws historical accuracy out the window in favor of something far more entertaining: an unapologetically ridiculous, raunchy, and brilliantly crafted theatrical experience.

I went into this production completely blind, knowing little more than its enormous success, critical acclaim, and the seemingly endless parade of celebrated performers who have stepped into the title role. Sometimes, I find that going into a show with absolutely no expectations can make the experience even more rewarding, and Oh, Mary! was certainly one of those occasions.

My only previous experience with Pinkleton's direction was his wonderfully imaginative production of The Wizard of Oz at A.C.T., which completely blew me away. I remember being so impressed by his ability to take a story practically everyone knows and transform it into something that felt fresh, inventive, and uniquely theatrical. That same creative spirit is very much alive in Oh, Mary!, although this time the material is decidedly more outrageous.

One of the first things that struck me wasn't even something happening onstage. It was the audience. On a Wednesday evening at the Curran, I was genuinely amazed by just how packed the theatre was. I can't remember the last time I saw such an enthusiastic, nearly full house for a play, particularly on a weeknight. Usually, it's the big touring musicals that command that kind of attendance, but Oh, Mary! has clearly become a theatrical event in its own right.

And after experiencing it for myself, I completely understand why.

The writing is simply brilliant. Escola has created a comedy that practically refuses to give its audience a moment to recover before delivering another joke. The dialogue is sharp, the humor is relentless, and the sheer absurdity of the situations becomes increasingly hilarious as the evening progresses. There is something wonderfully refreshing about a show that knows exactly what it wants to be and commits to that vision without hesitation.

While I think audiences from a wide variety of backgrounds can find something to enjoy here, I particularly appreciated the show's embrace of queer humor, drag sensibilities, and unapologetic raunchiness. It feels like a celebration of a very specific kind of theatrical comedy, one that embraces camp, exaggeration, and the ridiculous without ever feeling the need to explain itself.

 And leading all of this madness is the absolutely sensational Alaska Thunderfuck.

Having never experienced Oh, Mary! before, I was especially excited to see what Alaska would bring to a role that has already become so iconic. I knew several celebrated performers had portrayed Mary Todd Lincoln, but I had no preconceived notions about how the character should be played.

Alaska was extraordinary.

From the moment she appeared onstage, she commanded the room with an almost effortless sense of comedic authority. Her interpretation leaned wholeheartedly into the drag absurdity of the character, embracing every exaggerated movement, ridiculous outburst, and wonderfully inappropriate moment with complete conviction. There is something particularly impressive about a performer who can be so deliberately outrageous while maintaining such precise comedic control.

Alaska understood exactly how far to push the character, and the results were consistently hilarious. She was utterly captivating whenever she appeared, and I genuinely couldn't imagine a more entertaining introduction to this show.

While I was initially disappointed that J. Harrison Ghee wasn't appearing with the touring company, John-Andrew Morrison proved to be an absolute delight as Mary's Husband. Morrison brought a wonderfully contrasting energy to the production, creating a character who was equally ridiculous in an entirely different way.

Wesley Taylor was another major standout as Mary's Acting Teacher. Taylor brought such a sharp comedic presence to the role, finding wonderful opportunities to elevate the already hilarious dialogue. His interactions with Alaska were particularly entertaining, and he seemed to understand the heightened theatrical world of the piece perfectly.

Michael Lepore was equally enjoyable as Mary's Husband's Assistant, bringing a fitting sense of humor and commitment to a role that contributes beautifully to the production's escalating ridiculousness.

And I have to give a special shoutout to Pooya Mohseni as Mary's Chaperone, Louise. Mohseni was absolutely delightful, bringing her own distinct comedic personality to the production. As a fellow Iranian American, it was especially exciting to see her performing in such a celebrated theatrical production. Representation like this is always meaningful to me, and I couldn't help but feel a little extra pride watching her shine on the Curran stage. Âfarin!

One of the things I appreciated most about the production was its pacing. There is practically no time to rest, and I mean that in the best possible way. Scenes transition through wonderfully sharp blackouts, allowing the comedy to maintain its momentum without unnecessary pauses or interruptions. The entire evening moves with a confidence and precision that makes its relatively brief running time feel absolutely packed with entertainment.

In an era when our attention spans seem to be getting shorter by the day, there's something to be said for a production that understands how to keep an audience completely engaged from beginning to end. I never once felt a lull in the storytelling, and every scene seemed to build upon the increasingly ridiculous circumstances established before it.

The production design only enhances that experience.

The scenic design by the acclaimed collective dots is absolutely brilliant. The environments are carefully crafted to establish the historical setting while still allowing the production's wonderfully unconventional theatricality to flourish. I particularly appreciated how effectively the scenery supported the comedy without ever distracting from the performers.

The sound design by Drew Levy, complemented by Daniel Kluger's original music, was another highlight. There was a wonderfully cohesive quality to the soundscape that helped establish the production's distinctive tone. The musical transitions and carefully timed effects worked beautifully alongside the sharp blackouts, creating a seamless rhythm that kept the evening moving at full speed.

Under Pinkleton's direction, every element of Oh, Mary! feels remarkably intentional. The performances, staging, design, and writing work together to create something that is simultaneously chaotic and incredibly precise. It's a difficult balance to achieve, particularly with comedy this heightened, but this production makes it look effortless.

What makes Oh, Mary! so special is that it doesn't attempt to be anything other than exactly what it is: a wildly entertaining, unapologetically queer, and brilliantly ridiculous theatrical comedy. It takes historical figures audiences think they know and completely dismantles their familiar identities in favor of something gloriously absurd.

And maybe that's exactly why it works so well.

I left already wanting to experience the entire thing again. This is one of those rare productions I could happily revisit with the same cast or an entirely different company of performers, simply to see how each artist interprets the material. The writing is strong enough to support countless interpretations, and the possibilities seem endless.

Oh, Mary! is outrageous, inventive, hysterically funny, and unlike almost anything else currently touring. It's a reminder that theatre doesn't always have to be profound or emotionally devastating to leave a lasting impression. Sometimes, a truly brilliant comedy is more than enough.

I sincerely hope this show continues entertaining audiences for years to come, because productions this distinctive deserve to become part of the theatrical landscape. It's certainly a hot ticket for a good reason.

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