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The Sublime, Stupid World of ‘Oh, Mary!,’ Cole Escola’s Surprise Broadway Hit

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The Sublime, Stupid World of ‘Oh, Mary!,’ Cole Escola’s Surprise Broadway Hit

A collage showing Cole Escola as Mary Todd Lincoln, historical photos of Mary Todd Lincoln, and other ephemera.

“Oh, Mary!” is the surprise hit of the current Broadway season: an outlandish comedy with an insistently ahistorical premise, depicting Mary Todd Lincoln as a self-involved alcoholic who dreams of becoming a cabaret star.

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Cole Escola in a clip from “Pee Pee Manor.”

The show is the brainchild of Cole Escola, an alt-cabaret performer who, through years of gender-bending sketches on YouTube and onstage, honed the parodic sensibility that informs “Oh, Mary!”

An old photograph of of Mary Todd Lincoln.

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The show’s central element is, of course, Mary herself — a warped version of the onetime first lady. Escola, who wrote the show and stars as Mary, created a character who is somehow both serious and ridiculous.

Escola as Mary, wearing a black gown and curls.

So how did the show’s creative team decide what “Oh, Mary!” should look like? Escola had some ideas.

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A sketch of the black dress costume.

Escola envisioned Mary’s main gown as heavy and black, her curls bouncy and absurd. “I wanted everything to move and to be fun to play with, but I also wanted it to look like she’s trapped,” Escola said.

The black moire dress, inspired by portraits of, and museum exhibitions about, Mary Todd Lincoln, is bell-shaped, with large puffy sleeves and a pointed bodice; the buttons are exaggerated and the trim is outsized. It “alludes to her inner story of having been a cabaret legend,” said Holly Pierson, the costume designer.

Escola on the stage floor in the black gown.

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As the show developed, the dress was shortened, because the more historically accurate floor-length version was causing Escola to trip. “The shortness was necessary for Cole to run around and jump on the desk and do all the stuff on the floor,” Pierson said.

Escola’s bloomers alongside the similar bloomers worn by the queen in the “Alice in Wonderland” cartoon.

The undergarments, which include black tights, white bloomers painted with red hearts, and a ruffled hoop skirt, had to be redesigned several times to make them about five pounds lighter, because the original version was so heavy it impeded Escola’s choreographed movement.

Mary’s hair, a dark brown long bob adorned with curls, is the creation of Leah Loukas, a veteran wig designer. Loukas said the severity of the wig, and its center part, is based on historical images.

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A still from “Gone With the Wind” of Aunt Pittypat with her many curls.

The curls, which bounce as Escola flounces, are inspired by characters including Aunt Pittypat in “Gone With the Wind” …

A still from “Cinderella.”

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… an evil stepsister in “Cinderella,” and a poetry book Loukas had from her own childhood.

A black and white drawing of a girl with curly hair, alongside a gif of Escola flipping their curls.

The number of curls increased as the show transferred to Broadway from downtown and the creative team decided to play up the absurdity, but striking the right balance — the quantity and bounce of the curls that would move but not obscure Escola’s face — required time and testing.

“It took us months to find the magical sweet spot of comedy and functionality,” Loukas said.

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A collage of Escola as Mary, surrounded by old Hollywood actresses.

Escola is a huge fan of old movies and the actresses who starred in them.

Margaret Sullavan

Barbara Stanwyck, and more.

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A clip from “The Heiress.”

Especially influential is “The Heiress,” a 1949 film adapted from Henry James’s “Washington Square,” with an Oscar-winning turn by Olivia de Havilland.

“It’s thematically similar,” Escola said: “A woman who doesn’t fit the role she’s supposed to play, and who may or may not be conspired against by the people who are supposed to love her the most.”

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A collage of Escola as Mary, surrounded by old Hollywood actresses.

“They’re all ingredients in me, and I’m an ingredient in Mary, so there’s just Old Hollywood microplastics throughout the DNA of my Mary Todd Lincoln,” Escola said.

A collage of Escola being held by another character in the play, surrounded by similar embraces from old movies and the cover of a romance novel.

The sets and the staging are informed by a nostalgia for classic cinematic imagery. “Old American tropes are a signature piece of Cole’s work,” said Andrew Moerdyk, one of the scenic designers.

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For example, the brief clutch between Mary and her acting teacher looks like the cover of a romance novel, or a scene from a romantic movie.

A clip from “Gone With the Wind.”

“I’m of course inspired by romance in old movies, whether it’s Scarlett and Rhett or Heathcliff and Cathy,” Escola said, referring to the romantic couplings at the heart of “Gone With the Wind” and “Wuthering Heights.”

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A design mock-up of the saloon set alongside a photo of the real set.

A bar where the Lincolns go to drink looks like a saloon from an old western, with its dark wood and swinging door. Nobody worried about what a bar near the White House actually might have looked like in the 1860s.

An old photo of people drinking in a saloon.

“We looked at Victorian saloons of the period from all over America, and they had this beautiful heavy woodwork, and usually had a mirror,” Moerdyk added. “We wanted to distill it down to the essence of what a saloon was.”

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Silly props from the saloon set.

The set was created by the design collective dots. Moerdyk described the tone as “rigorously stupid.” “Usually we go to great lengths to mask the tops of walls and erase anything phony, but here we leaned into the theateriness of it all,” he said.

A design mockup of the White House office set for the play, alongside the real set.

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The show’s set is meant to be reminiscent of community theater — more stagey than naturalistic, so that when you look at it, you know you’re seeing actors in a play.

The White House office, for example, has two doors on the same side of the room to facilitate actor entrances and exits; the walls are angled to make it easier for audiences on the side of the theater to see.

Zooming in on the two sets of doors.

“That office makes zero sense architecturally — it just looks like a set, and that was intentional,” Sam Pinkleton, the show’s director, said. “Everything is cheated so that the audience can see it.”

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“The directive was, ‘You are not designing a play. You are playing designers designing a play,’” Escola said.

“It’s sort of the straight man to the comedy of the writing. The walls move every time we slam a door, but it’s not a ‘Ha ha, look at this set,’ it’s more ‘Look at how seriously we were taking this play with our limited resources.’ It’s literally the backdrop for the comedy.”

“The books on the shelves are painted spines that are totally flat, and you can see from the side that there are no books there,” Moerdyk said.

“We would never do that usually, but it was really fun to be allowed to be stupid.”

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A collage of the saloon bar with the R U M bottles.

Another example: “The labeling is the most basic version of what a prop would be,” Moerdyk said. “Downtown we didn’t spend any time thinking about what the liquors would be — we just wrote the word ‘Rum’ and ‘Whiskey’ on bottles and stacked them.

“And when we moved to Broadway, we needed to make that idea register to the back of the house, so we ended up labeling them ‘R’ and ‘U’ and ‘M.’ We had a lot of fun thinking about, ‘What is the dumbest version of this idea, and how can we make it be funny?’”

As the show developed, the creative team leaned into the set’s humor. “When we started there were some things that felt too underplayed or muted or naturalistic, like, ‘Oopsie, we’re doing Chekhov,’” Pinkleton said. Instead, he said, the show works best when “everything is taken a step too far.”

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A collage of Escola as Mary, with the Lincoln character, surrounded by reference images of the Lincoln assassination.

The show’s aesthetics get more precise as the story progresses.

An old drawing of the assassination.

For the assassination scene at Ford’s Theater, the designers opted for a greater degree of verisimilitude, imagining that some in the audience would have fairly specific expectations for what that would look like from photographs and paintings depicting the scene.

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“We wanted it to be the punchiest, most recognizable, easy-to-clock symbol of Ford’s Theater,” Moerdyk said.

A design mockup of the theater booth set alongside the real set.

“We tried versions that were high concept, but then Sam said, ‘What if we just put the booth in the middle of the stage, surrounded by darkness,’ and the image of that booth in the dark void is so successful.”

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A collage of Escola as Mary, wearing a blue dress, surrounded by a costume sketch, swatches, and an old drawing.

The blue dress that Mary Todd Lincoln wears in the assassination scene is a good example of how the show’s designers put their own spin on history, informed by midcentury film aesthetics.

Mary Todd Lincoln did have a blue velvet dress, but it’s not what she wore that fateful night, and it wasn’t as vibrant as the outfit in the show.

“Ours is a little more bright and in your face,” said Pierson, the costume designer. “We wanted it to be this empowerment dress — brash and almost tacky.”

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The full moodboard collage.

The show’s design winds up as both a homage and a spoof, made by people who love theater and also laugh about it.

Pinkleton, the director, summed up the approach, saying, “We wanted the whole thing to be a warm embrace of doing a play.”

Cole Escola is scheduled to star in “Oh, Mary!” until Jan. 19, and then Betty Gilpin will step into the title role for eight weeks. Tickets for the show are on sale through June 28; the production has not said who will play Mary Todd Lincoln following Gilpin.

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Man Dies in Subway Attack; Mamdani Orders Inquiry Into Suspect’s Release From Bellevue

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Man Dies in Subway Attack; Mamdani Orders Inquiry Into Suspect’s Release From Bellevue

A 76-year-old man died on Friday after being shoved down the stairs at the 18th Street subway station in Manhattan, and the police arrested a suspect who had been arrested multiple times in recent months and had been discharged from Bellevue Hospital’s psychiatric ward just hours before.

The victim, Ross Falzone, landed on his head at the bottom of the stairs and suffered a traumatic brain injury, a fractured spine and a fractured rib after a stranger rushed forward and pushed him, the police said.

Mr. Falzone had been walking north on Seventh Avenue toward the subway station in the Chelsea neighborhood on Thursday evening, said Brad Weekes, assistant commissioner of public information for the Police Department. Walking about 30 yards behind him was the stranger, according to surveillance footage from the scene, Mr. Weekes said. As Mr. Falzone reached the station, the man rushed forward and pushed him down the stairs. He was taken to Bellevue where he died shortly before 3 a.m. on Friday.

The death sparked outrage at City Hall. Mayor Zohran Mamdani quickly called for an investigation into how Bellevue handled the discharge of the suspect and suggested that institutional problems at the hospital might have led to the random attack.

“I am horrified by the killing of Ross Falzone and the circumstances that led to it,” Mr. Mamdani said in a news release on Friday, in which he ordered “an immediate investigation on what steps should have been taken to prevent this tragedy.”

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Police identified the suspect as Rhamell Burke, 32.

In the three months preceding the attack, Mr. Burke was arrested four times, Mr. Weekes said, including an arrest on Feb. 2 in connection with an assault on a Port Authority police officer.

Mr. Burke’s most recent interaction with the police began at around 3:30 p.m. Thursday, when he approached a group of N.Y.P.D. officers outside the 17th Precinct station house on East 51st Street, Mr. Weekes said. He grabbed a stick from a pile of garbage on the street and approached the officers, who told him to drop the stick. When he did, officers placed Mr. Burke in a police vehicle and drove him to Bellevue, where he was admitted to the emergency room at around 3:40 p.m., Mr. Weekes said. Mr. Burke was taken to the hospital’s Comprehensive Psychiatric Emergency Program for evaluation and treatment, Mr. Weekes said, and was released from the hospital one hour later.

He was just a mile and a half from the hospital when he encountered Mr. Falzone at around 9:30 p.m. Thursday.

On Friday afternoon, police officers found Mr. Burke in Penn Station, where they arrested him. He was in custody on Friday evening. It was unclear Friday if Mr. Burke had a lawyer.

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The mayor said he had requested help from the New York State Department of Health, which will investigate the decision to release Mr. Burke from Bellevue and conduct a review of similar cases at the hospital. The state agency also will investigate psychiatric evaluation and discharge procedures across NYC Health and Hospitals, the city’s public hospital system, according to the news release.

Mr. Falzone was a retired high school teacher who lived alone for many years in an apartment building on the Upper West Side. His friends were in shock on Friday about his death. They shared memories of an affable but private man who rarely spoke about his family or personal life.

Mr. Falzone had been recovering from a recent surgery and seemed more mobile and happy, said Marc Stager, 78, Mr. Falzone’s next-door neighbor on a tree-lined block of West 85th Street. He was known as a cheerful “yapper,” said Briel Waxman, a neighbor. He was the kind of New Yorker who enjoyed chatting with neighbors about historical details of his building and seeing performances at Lincoln Center with friends.

“He was always out and about,” said Ms. Waxman, 35, who often returned to her apartment at midnight or 1 a.m. to find Mr. Falzone arriving home at the same time. “I was like, ‘I don’t know if I’m proud of you or embarrassed of myself,’” she remembered telling him.

Mr. Falzone had wide taste in music — opera, classical, jazz, pop — and neighbors could tell he was home when they heard notes escaping from under his apartment door, Mr. Stager said.

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He was “a helpless old guy,” said Mr. Stager, who added that he was “disappointed and shocked, frankly, that somebody could do such a thing” as shove such a defenseless person down the stairs.

When Ms. Waxman moved into the building five years ago, Mr. Falzone was among the first people to welcome her, she said. He once brought a package to her door that had been delivered to the wrong unit and shared that what is now a blank wall in her apartment had once been a fireplace.

Ms. Waxman sat in her living room on Friday and cried as she talked, dabbing her eyes with a tissue. She remembered Mr. Falzone as “just overall, nice, talkative, genuine human.”

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Compare the Purported Epstein Suicide Note to His Writings

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Compare the Purported Epstein Suicide Note to His Writings

A suicide note purported to be written by the sexual predator Jeffrey Epstein while he was in jail in 2019 uses language that in some cases echoes his past writings to friends and family.

One phrase found in the apparent suicide note — “No Fun” — also appears on a handwritten page found in Mr. Epstein’s jail cell at the time of his death, as well as in emails he sent over the years.

And another saying in the suicide note — “watcha want me to do — bust out cryin!!” — appears in emails that Mr. Epstein had written to people close to him.

A cellmate claimed that Mr. Epstein left the suicide note before he was found unresponsive in their cell weeks before his death. The New York Times reported on the note last week and successfully asked a federal judge to unseal it.

If authentic, the note gives a view into Mr. Epstein’s mind-set before he was found dead at age 66 in August 2019. The New York City medical examiner ruled his death a suicide.

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A different handwritten note was found in Mr. Epstein’s cell when he died, and investigators believed it was written by him. In that document, Mr. Epstein complained about jail conditions — burned food, giant bugs and being kept in a locked shower. He concluded it with the underlined phrase, “NO FUN!!”

Mr. Epstein also used the phrase in emails when describing things he was unhappy about, or situations that had not gone his way.

Mr. Epstein used the phrase “watcha want me to do — bust out cryin” with friends, and in messages to his brother, Mark Epstein.

Like the note released by the judge, Mr. Epstein’s emails were often short, with staccato phrases and erratic punctuation. The emails were contained in millions of pages of documents the Justice Department released in response to a law passed last year requiring disclosure of records pertaining to Mr. Epstein.

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New York’s Budget Deal Is Still Hazy. Here Are 5 Key Questions.

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New York’s Budget Deal Is Still Hazy. Here Are 5 Key Questions.

It has become an article of faith in the New York State Capitol that when Gov. Kathy Hochul enters the Red Room on the building’s second floor to announce a budget agreement, the deal is actually far from sealed.

This year was no different.

Despite declaring that “today is the day” to announce an agreement on a $268 billion state budget, Ms. Hochul on Thursday acknowledged that several key initiatives — including a new tax surcharge on multimillion-dollar second homes in New York City — had been agreed on in principle, but that the details still needed work.

Even the top-line figure had not been finalized.

Lawmakers are fond of saying that the devil is in the details. But in the absence of the lengthy budget bills that include those details, which have yet to be printed and voted on, a host of unanswered questions remain.

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Here are five of them:

New York’s opaque budget process, which starts in January with the State of the State address and is supposed to be completed by April 1, has become far more than a negotiation over a fiscal document.

Governors have tended to use the budget to wedge in legislative priorities, wielding their leverage over billions of dollars to get their way.

Ms. Hochul has embraced this practice. And, in a re-election year, she wanted to convey to voters that she intended to stand up to President Trump’s immigration crackdown, help out New York City and lower costs for everyday New Yorkers.

She made that case on Thursday at a news conference flanked by several of her top aides. Notably missing were the leaders of the State Assembly and Senate.

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Not this week. The Assembly speaker, Carl E. Heastie, said on Thursday that it was “very premature” of the governor to say a deal had been reached. He would not even say that the Legislature had agreed to the $268 billion figure.

He complained about Ms. Hochul’s penchant for jamming nonfiscal policies into the budget and said he would not discuss such matters with his members until he had a better sense of the total amount the state would be spending.

As he spoke, members of the Senate and Assembly, who are currently not being paid, were wrapping up their legislative business for the week in a rush to return to their districts. They will be back in Albany on Monday; it is unclear what bill language, if any, will have been printed and distributed by then.

Mr. Mamdani, the mayor of New York City, campaigned on wresting more than $10 billion in tax increases from the state to pay for his ambitious agenda. That will not happen this year.

Ms. Hochul did accede to a new tax on second homes that targets the city’s richest property owners whose primary residences are outside New York City. The goal is to raise $500 million each year, which will go toward closing the city’s estimated $5.4 billion budget deficit.

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But she spurned the mayor’s request to make changes to a tax credit called the Pass Through Entity Tax that is used by some business owners. Mr. Mamdani had said that the measure, which was also backed by the City Council speaker, Julie Menin, could raise up to $1 billion a year in tax revenue.

Aside from tax increases, Mr. Mamdani’s overarching priority has been expanding child care in the city. Ms. Hochul’s budget does just that, with $4.5 billion allotted for child care and prekindergarten programs across the state.

It’s not the whole loaf, or even half. But Mr. Mamdani can point to that funding and say that he is advancing toward his goal of providing free child care for every New York City child under 5. And while the governor rejected his efforts to fund a program to make buses free, she directed more than $1 billion in additional aid to the city that, combined with revenue from the second-home tax and other proposed measures like delays in pension payments, could help Mr. Mamdani work to close its budget gap.

State lawmakers — and just about everyone else — are scratching their heads about the details of this tax surcharge, which Ms. Hochul proposed with great fanfare last month. The New York Times previously reported that one proposal being discussed would apply one tax rate to pieds-à-terre with values between $5 million and $15 million; a higher rate for ones valued between $15 million and $25 million; and an even higher rate for properties valued at $25 million or more, according to three people familiar with the matter.

How much the property owners would pay is still up in the air. Ms. Hochul said on Thursday that more details would be coming in the near future and that the tax would apply to units worth $5 million or more.

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Also being sorted out is how, exactly, the value of each co-op or apartment would be determined.

“It’s going to take some time to get to the right number to assess that,” the governor said, noting the city’s complex system for calculating a property’s assessed value.

“We’re looking at the difference between what is currently assessed but what is market value,” she added. “We’re working it out with the city. We have had some really good conversations.”

Facing pressure from the state’s largest public unions, Ms. Hochul has been trying to determine how to restore certain pension benefits that had been cut for public employees hired after 2012.

Any changes could end up costing the state hundreds of millions of dollars, while also saddling local municipalities and school districts with increased spending burdens. Several of the labor groups have prioritized lowering the minimum retirement age to 55 from 63.

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Ms. Hochul said on Thursday that the particulars were still being negotiated, but stressed that the cost to the state and local governments would be less than the $1.5 billion that has been requested by the unions.

“We are willing to look at this and make changes, but a much more scaled-back monetary proposal,” she said.

“We will release these numbers as soon as it’s absolutely done,” she added.

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