Rewrite
coat. Sam Macer
opposite
jacket. Elisabetta Franchi
When Mason Alexander Park takes the stage as Mary Todd Lincoln in Cole Escola’s ‘Oh, Mary!’, chaos is inevitable. The play, a delightfully irreverent dive into the life of one of America’s most overlooked First Ladies, has evolved from a niche Off-Broadway queer hit into a Pulitzer Prize finalist and now a celebrated West End sensation. Having inhabited the role since December, Park has been living in Mary’s shoes longer than most, and it quickly becomes clear why: the reverence and care they bring to a character that reimagines Abraham Lincoln’s wife – and retells the weeks leading up to his assassination as a queer-infused spectacle – translate into an 80-minute maelstrom that has captivated audiences at London’s Trafalgar Theatre.
While the role was originally written by and as a vehicle for Escola, Park has carried the torch with unrelenting intensity and uncompromising focus, even now as the baton is soon to be passed to Catherine Tate, who will perform the role in London from 27 April through 18 July, continuing a lineage of performers willing to embrace Mary’s brash, anarchic spirit. Until then, Park keeps the play fizzing, unpredictable, and unapologetically alive, offering a performance that is as physically demanding as it is emotionally precise.
Ahead of their final performances, Park reflected on the whirlwind of bringing Mary Todd Lincoln to life, the physical and emotional rigour of a role that never lets up, the thrill of sustaining a show that is bratty, unfiltered, and “very, very horny,” and the joy of making audiences laugh while celebrating trans and queer identity.
opposite
dress. Elisabetta Franchi
I’m going to jump right in, since you have a show in a couple of hours, right?
Yes, I have two shows tonight and probably will start getting ready for the matinee in about an hour. Thursdays are full-on but fun since they start later. By the time the night show begins at 8:45 instead of 7:30, the audience is properly drunk. You don’t run into the pretence of politeness. Some plays don’t require it, and this is one of them – ‘Oh, Mary!’ is a very impolite play.
It’s an impolite play about a very bratty figure. Can you pitch me Mary Todd Lincoln in your own words?
Bratty is such a great way to describe it, because she, as a figure, is this petulant child. She has the confidence and the mood swings of youth, which I think is really fun to see play out in an adult human being who is acting in ways that are not necessarily societally appropriate. But it’s because she’s so unfiltered, and the play is very unfiltered.
Before we really dive in, can you take me back to the beginning, though? What was it like knowing you were stepping into Cole’s massive footsteps and taking a play that, undoubtedly, was and is cementing itself in theatrical history?
Yes, it was written by a very silly person who wrote this role for themselves as a vehicle, and you can tell that the play was intended for their friends. It was intended for their core audience and for this sort of niche group of queer people who enjoy their offbeat style. But the reality of the play is that the structure of it, the story, and the surprises in it are so remarkable and so well written that, as a piece of theatre, it has been able to connect with every kind of person who comes to see it, which is why it’s become this sort of mainstream phenomenon rather than just staying a fringe queer show that lives and dies Off-Broadway.
The play’s core audience was originally queer. How important is it to you to see a joyful, exuberant work celebrating the community, one that isn’t defined by trauma or sadness, especially at a time when queerness and transness are often negatively framed in the media?
It is so special. We’ve been hyper-focused on and scapegoated in much of the current political discourse, and it feels like the only coverage that exists in that sphere is disproportionately negative. It is mostly filtered through people who aren’t trans, don’t know trans people, and often have no authority, research, or, frankly, intelligence. So, it’s a great privilege to get to make people laugh and allow them the opportunity to escape the horrors of the real world.
We, as human beings, need that to recharge and rejoin the fight. I just feel really honoured that I get to spend my time doing something that feels so fun and also so worthwhile because you can see how much it means to audiences. It is something I wish I could continue to do for a very, very long time because it’s a special gift that few people are given.
jacket, trousers + heels. Elisabetta Franchi
opposite
jacket, skirt + heels. Elisabetta Franchi
jacket. Elisabetta Franchi
opposite
coat + top. Sam Macer
And the people who’ve been given the opportunity so far, like you, are absolutely remarkable performers and humans…
Yeah, did you hear that the play is now at a point in its life where they have just announced Maya Rudolph as the next Mary Todd Lincoln on Broadway? I mean, how many non-binary, queer, or trans playwrights can say that they wrote a role that is now being played by some of the greatest comedians of their generation?
You did just say you’d love to do this forever, but on a purely physical level, I assume it might also be time for a break…
Yes, otherwise it might kill me. I would love to die in that building, I wouldn’t mind. There are worse things, but there’s a reason most people who’ve played Mary have only done eight to twelve weeks at most. No one’s really surpassed that, except for Cole and myself.
I think Cole and I are very similar animals, very, very similar performers and people. Our attack and care for the play is probably what carries us through what is otherwise an incredibly gruelling and taxing experience. I haven’t missed a show in the last three months, and I’ve been doing my darndest to make this my primary focus during the six months I agreed to do it. Plus, the lineage of Marys is really cool, and it’s fun to be a part of it.
Were you instantly drawn to the role?
Yeah, I always had an interest in the show because I’ve always had an interest in Cole. I’ve loved them as a comedian and performer for many years and watched their work when they were writing and starring in a lot of offbeat TV comedies.
When I saw the play was happening and having a really amazing off-Broadway run, and all my friends were seeing it, I was really annoyed that I couldn’t catch it during its original run. Then they announced Broadway, which was only meant to be about 12 weeks, and I knew I wasn’t going to make it during that time because I was still doing a show. Every time it came up, I thought, “Oh, I’ll never see this play”, but it just kept sticking around like a rash, giving me the chance to finally see it well after a year of it being out in the world.
I bought tickets for, I think, the Friday night after Cole won the Tony Award. Cole only had three shows left before leaving, and a few days later, my UK agent called to say they were bringing ‘Oh, Mary!’ to the West End. The producers wanted to gauge my interest, and I said, “I’m seeing it in a couple of days, I’ll let you know.”
I’m surprised that it wasn’t an immediate yes…
No, because I was worried that I would say yes just because I loved Cole, and then realise I wasn’t right for the part and embarrass myself. When you’re a younger actor, the narrative pushed is to say yes to everything because everything’s a learning experience, and honestly, I think that’s bullshit.
There’s an element of truth to it, sure, but a lot of the time, you don’t actually learn anything; you just end up learning that you should have said no. When I went to see it, I just wanted to make sure I wasn’t going to be terrible. I saw enough of myself in Cole, and definitely enough in Mary, that I thought, “Oh, I think I could do this. It’s intense and challenging, and it’s so specific to this person, but this person is a lot like me, and I understand their voice because I’ve been listening to it for a long time. Hopefully, my take on this would respect what the play requires.”
jacket, top + trousers. Alexander Yetman
heels. Elisabetta Franchi
opposite
jacket, top + trousers. Alexander Yetman
heels. Elisabetta Franchi
jacket + skirt. Elisabetta Franchi
opposite
coat, top + skirt. Sam Macer
heels. Elisabetta Franchi
Were there any tips Cole passed on to you before you embarked on your journey with Mary?
Most of the conversations between Cole and in terms of advice had a lot to do with, like, acid reflux. Our text thread is mainly us making fun of each other and then just talking about our bodily functions.
Fair, that’s a good friendship in my book.
Yeah, exactly. I think almost all of it is physical. Cole is such a good “mother” of the play and has done such a brilliant job of allowing everyone to bring themselves to it. I do think I was really lucky that my first experience with the play was with Cole, because I can always use that memory. I noticed that Cole was in a constant state of emergency, and the play lived in this really fizzy world where I was on the edge of my seat the entire time because I didn’t know what was going to happen to this person at any given moment. They didn’t let me relax or be comfortable in any capacity, and that is something that I have brought to it as well.
How do you sustain that kind of tension for 80 minutes twice a day?
83 minutes on a good day (laughs). Honestly, it has taken a lot of discipline and a lot of focus. When I’m at work, I think the key for me has just been to keep the fizziness up. Even in the 30 seconds that I’m off stage, I’m off stage, bullying the crew and trying to distract them from their jobs, and then going back on and doing my thing. I think that helps me rather than going off and focusing and being serious and resting the voice or whatever. I’m back there calling people really mean names or pushing them or just being a menace.
Do you apologise when the day is over?
Absolutely not, no, they love it. The thing that has brought us all together is that this company is so deeply unserious, and everyone who is part of this company is so joyful and so grateful to be doing what we’re doing. There are so many alternatives that are so much worse than doing an 80-minute, ridiculously funny play with five actors and a small crew of people who get to go home at like 9 p.m. What do we have to complain about? It’s the best thing ever. So that energy really permeates backstage. Everyone just has the best energy, so it’s fun to play constantly and then go home.
It nonetheless sounds incredibly demanding, both mentally and physically.
It’s one of the most challenging things I’ve ever done. You’d think the Emcee in ‘Cabaret’ would be hard, but here, there’s barely time to breathe. You can’t go offstage for more than 30 seconds, and you never get a pee break. It’s insanely fast-paced, so you don’t really have time to think; once you’re on the train, it’s flying. That helps, but being in a constant state of emergency is really difficult. It’s hard on the voice, hard on the body. For most of it, I’m full of piss and anger, and that’s what gets me through the show. And on top of all that, the show is so physical, and at least my version of Mary has been compared, by friends or the press, to a poltergeist or the Grinch. ‘The Grinch’ comparison is actually quite accurate; there’s this Jim Carrey-esque vibe to it.
I’m just picturing that tablecloth moment in ‘The Grinch’, that’s all I can see now.
Oh God, yeah, there’s so much stuff like that. Just like a really grumpy person who has the longest extremities in the world. Mary is just really grumpy, she’s really horny, and she’s amazing. She has gifted me a new lease on performing because she’s unlike anyone that I’ve ever played.
She honestly sounds aspirational. You just said that’s the only way to keep the train going, but how on earth are you going to step off now that it’s so close to the end?
Kicking and screaming, probably.
Right, they’re going to drag you out?
Oh yes, I’ll be livid (laughs). They’re going to have to literally drag my carcass out of that theatre. Hopefully, on my last night, I will just spontaneously combust and then no one has to worry about it. I explode, and the dress just sort of floats down to the ground. That’s the ideal scenario – a great dramatic ending – and I won’t have to think about what’s next.
I imagine that Mary is the kind of character who would stay with you regardless.
Oh yes, even if you think you’re tired of her, even if you think you can’t do it anymore, she calls everyone back. So I imagine there will be a time in the not-so-distant future where the curls will be screaming for me.
jacket + dress. Leo Prothman
opposite
coat. Sam Macer
Listening to you talk about Mary, she sounds like someone we’d all like to be, but none of us are quite bold enough to go for it. Has she taught you anything?
Oh, that just immediately made me weirdly sensitive and emotional. She’s taught me a lot about fearlessness and really just going with your gut. She’s a woman who feels so unseen and so held back and so ignored by the world around her and by the people around her.
She firmly believes that she has something special within her, which I think is the common experience of any performer. So many people are so grossly overlooked in this business, and Mary lives with this tenacity and this fearlessness, this attack, and this belief in herself that is so liberating. It’s something that I wish I had more of. I have a much more laid-back approach to this industry, which is probably for the best – you can ruffle a lot of feathers when you’re sure that you’re the greatest thing in the world. Some people are probably gleaning that from certain celebrities who are talking a lot nowadays about themselves.
There’s been a lot of them recently…
It just seems to be happening a lot more. At the end of the day, there’s no right or wrong way to be confident. But the reality of it is that Mary Todd Lincoln is a bit aggressive and a bit much, and she will do anything to become a star. And that is not really a quality that we should admire. I think that’s where our similarities come to an end.
I know you’re about to head off for the matinee, but before you dash, I have to ask: has ‘Oh, Mary!’ and Cole inspired you to think about writing your own play someday?
It could be, yes. As a writer, the most recent thing I did was a multimedia piece with Audible. It was a live show we captured the audio for, a history variety show about the cyclical nature of queer history called ‘The Pansy Craze’. Each episode hyper-fixates on a very specific moment in time and a specific performer or person. We wrote about eight hours of content, and we’re in the editing process now. It’s coming out in June on Audible, but I have yet to write a play.
Cole has definitely inspired me, with the confidence of this play, with the confidence of their voice, and how well it’s connected. It’s made me think: “Why haven’t I done this in some capacity yet?” So I think, thanks to Cole Escola, there may be a future in which I try to write some sort of ridiculous play myself.
dress. Elisabetta Franchi
Book your tickets now for ‘Oh, Mary!” at trafalgartheatre.com.
photography. Fran Gomez de Villaboa
fashion. Rui Santos
talent. Mason Alexander Park
hair. James Michael Butterfield using Hair by Sam McKnight
make up. Kevin Cordo
photography assistants. Ludmilla De Luca Perazzi + Serena Lewis
interview. Jule Scott
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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coat. Sam Macer
opposite
jacket. Elisabetta Franchi
When Mason Alexander Park takes the stage as Mary Todd Lincoln in Cole Escola’s ‘Oh, Mary!’, chaos is inevitable. The play, a delightfully irreverent dive into the life of one of America’s most overlooked First Ladies, has evolved from a niche Off-Broadway queer hit into a Pulitzer Prize finalist and now a celebrated West End sensation. Having inhabited the role since December, Park has been living in Mary’s shoes longer than most, and it quickly becomes clear why: the reverence and care they bring to a character that reimagines Abraham Lincoln’s wife – and retells the weeks leading up to his assassination as a queer-infused spectacle – translate into an 80-minute maelstrom that has captivated audiences at London’s Trafalgar Theatre.
While the role was originally written by and as a vehicle for Escola, Park has carried the torch with unrelenting intensity and uncompromising focus, even now as the baton is soon to be passed to Catherine Tate, who will perform the role in London from 27 April through 18 July, continuing a lineage of performers willing to embrace Mary’s brash, anarchic spirit. Until then, Park keeps the play fizzing, unpredictable, and unapologetically alive, offering a performance that is as physically demanding as it is emotionally precise.
Ahead of their final performances, Park reflected on the whirlwind of bringing Mary Todd Lincoln to life, the physical and emotional rigour of a role that never lets up, the thrill of sustaining a show that is bratty, unfiltered, and “very, very horny,” and the joy of making audiences laugh while celebrating trans and queer identity.
opposite
dress. Elisabetta Franchi
I’m going to jump right in, since you have a show in a couple of hours, right?
Yes, I have two shows tonight and probably will start getting ready for the matinee in about an hour. Thursdays are full-on but fun since they start later. By the time the night show begins at 8:45 instead of 7:30, the audience is properly drunk. You don’t run into the pretence of politeness. Some plays don’t require it, and this is one of them – ‘Oh, Mary!’ is a very impolite play.
It’s an impolite play about a very bratty figure. Can you pitch me Mary Todd Lincoln in your own words?
Bratty is such a great way to describe it, because she, as a figure, is this petulant child. She has the confidence and the mood swings of youth, which I think is really fun to see play out in an adult human being who is acting in ways that are not necessarily societally appropriate. But it’s because she’s so unfiltered, and the play is very unfiltered.
Before we really dive in, can you take me back to the beginning, though? What was it like knowing you were stepping into Cole’s massive footsteps and taking a play that, undoubtedly, was and is cementing itself in theatrical history?
Yes, it was written by a very silly person who wrote this role for themselves as a vehicle, and you can tell that the play was intended for their friends. It was intended for their core audience and for this sort of niche group of queer people who enjoy their offbeat style. But the reality of the play is that the structure of it, the story, and the surprises in it are so remarkable and so well written that, as a piece of theatre, it has been able to connect with every kind of person who comes to see it, which is why it’s become this sort of mainstream phenomenon rather than just staying a fringe queer show that lives and dies Off-Broadway.
The play’s core audience was originally queer. How important is it to you to see a joyful, exuberant work celebrating the community, one that isn’t defined by trauma or sadness, especially at a time when queerness and transness are often negatively framed in the media?
It is so special. We’ve been hyper-focused on and scapegoated in much of the current political discourse, and it feels like the only coverage that exists in that sphere is disproportionately negative. It is mostly filtered through people who aren’t trans, don’t know trans people, and often have no authority, research, or, frankly, intelligence. So, it’s a great privilege to get to make people laugh and allow them the opportunity to escape the horrors of the real world.
We, as human beings, need that to recharge and rejoin the fight. I just feel really honoured that I get to spend my time doing something that feels so fun and also so worthwhile because you can see how much it means to audiences. It is something I wish I could continue to do for a very, very long time because it’s a special gift that few people are given.
jacket, trousers + heels. Elisabetta Franchi
opposite
jacket, skirt + heels. Elisabetta Franchi
jacket. Elisabetta Franchi
opposite
coat + top. Sam Macer
And the people who’ve been given the opportunity so far, like you, are absolutely remarkable performers and humans…
Yeah, did you hear that the play is now at a point in its life where they have just announced Maya Rudolph as the next Mary Todd Lincoln on Broadway? I mean, how many non-binary, queer, or trans playwrights can say that they wrote a role that is now being played by some of the greatest comedians of their generation?
You did just say you’d love to do this forever, but on a purely physical level, I assume it might also be time for a break…
Yes, otherwise it might kill me. I would love to die in that building, I wouldn’t mind. There are worse things, but there’s a reason most people who’ve played Mary have only done eight to twelve weeks at most. No one’s really surpassed that, except for Cole and myself.
I think Cole and I are very similar animals, very, very similar performers and people. Our attack and care for the play is probably what carries us through what is otherwise an incredibly gruelling and taxing experience. I haven’t missed a show in the last three months, and I’ve been doing my darndest to make this my primary focus during the six months I agreed to do it. Plus, the lineage of Marys is really cool, and it’s fun to be a part of it.
Were you instantly drawn to the role?
Yeah, I always had an interest in the show because I’ve always had an interest in Cole. I’ve loved them as a comedian and performer for many years and watched their work when they were writing and starring in a lot of offbeat TV comedies.
When I saw the play was happening and having a really amazing off-Broadway run, and all my friends were seeing it, I was really annoyed that I couldn’t catch it during its original run. Then they announced Broadway, which was only meant to be about 12 weeks, and I knew I wasn’t going to make it during that time because I was still doing a show. Every time it came up, I thought, “Oh, I’ll never see this play”, but it just kept sticking around like a rash, giving me the chance to finally see it well after a year of it being out in the world.
I bought tickets for, I think, the Friday night after Cole won the Tony Award. Cole only had three shows left before leaving, and a few days later, my UK agent called to say they were bringing ‘Oh, Mary!’ to the West End. The producers wanted to gauge my interest, and I said, “I’m seeing it in a couple of days, I’ll let you know.”
I’m surprised that it wasn’t an immediate yes…
No, because I was worried that I would say yes just because I loved Cole, and then realise I wasn’t right for the part and embarrass myself. When you’re a younger actor, the narrative pushed is to say yes to everything because everything’s a learning experience, and honestly, I think that’s bullshit.
There’s an element of truth to it, sure, but a lot of the time, you don’t actually learn anything; you just end up learning that you should have said no. When I went to see it, I just wanted to make sure I wasn’t going to be terrible. I saw enough of myself in Cole, and definitely enough in Mary, that I thought, “Oh, I think I could do this. It’s intense and challenging, and it’s so specific to this person, but this person is a lot like me, and I understand their voice because I’ve been listening to it for a long time. Hopefully, my take on this would respect what the play requires.”
jacket, top + trousers. Alexander Yetman
heels. Elisabetta Franchi
opposite
jacket, top + trousers. Alexander Yetman
heels. Elisabetta Franchi
jacket + skirt. Elisabetta Franchi
opposite
coat, top + skirt. Sam Macer
heels. Elisabetta Franchi
Were there any tips Cole passed on to you before you embarked on your journey with Mary?
Most of the conversations between Cole and in terms of advice had a lot to do with, like, acid reflux. Our text thread is mainly us making fun of each other and then just talking about our bodily functions.
Fair, that’s a good friendship in my book.
Yeah, exactly. I think almost all of it is physical. Cole is such a good “mother” of the play and has done such a brilliant job of allowing everyone to bring themselves to it. I do think I was really lucky that my first experience with the play was with Cole, because I can always use that memory. I noticed that Cole was in a constant state of emergency, and the play lived in this really fizzy world where I was on the edge of my seat the entire time because I didn’t know what was going to happen to this person at any given moment. They didn’t let me relax or be comfortable in any capacity, and that is something that I have brought to it as well.
How do you sustain that kind of tension for 80 minutes twice a day?
83 minutes on a good day (laughs). Honestly, it has taken a lot of discipline and a lot of focus. When I’m at work, I think the key for me has just been to keep the fizziness up. Even in the 30 seconds that I’m off stage, I’m off stage, bullying the crew and trying to distract them from their jobs, and then going back on and doing my thing. I think that helps me rather than going off and focusing and being serious and resting the voice or whatever. I’m back there calling people really mean names or pushing them or just being a menace.
Do you apologise when the day is over?
Absolutely not, no, they love it. The thing that has brought us all together is that this company is so deeply unserious, and everyone who is part of this company is so joyful and so grateful to be doing what we’re doing. There are so many alternatives that are so much worse than doing an 80-minute, ridiculously funny play with five actors and a small crew of people who get to go home at like 9 p.m. What do we have to complain about? It’s the best thing ever. So that energy really permeates backstage. Everyone just has the best energy, so it’s fun to play constantly and then go home.
It nonetheless sounds incredibly demanding, both mentally and physically.
It’s one of the most challenging things I’ve ever done. You’d think the Emcee in ‘Cabaret’ would be hard, but here, there’s barely time to breathe. You can’t go offstage for more than 30 seconds, and you never get a pee break. It’s insanely fast-paced, so you don’t really have time to think; once you’re on the train, it’s flying. That helps, but being in a constant state of emergency is really difficult. It’s hard on the voice, hard on the body. For most of it, I’m full of piss and anger, and that’s what gets me through the show. And on top of all that, the show is so physical, and at least my version of Mary has been compared, by friends or the press, to a poltergeist or the Grinch. ‘The Grinch’ comparison is actually quite accurate; there’s this Jim Carrey-esque vibe to it.
I’m just picturing that tablecloth moment in ‘The Grinch’, that’s all I can see now.
Oh God, yeah, there’s so much stuff like that. Just like a really grumpy person who has the longest extremities in the world. Mary is just really grumpy, she’s really horny, and she’s amazing. She has gifted me a new lease on performing because she’s unlike anyone that I’ve ever played.
She honestly sounds aspirational. You just said that’s the only way to keep the train going, but how on earth are you going to step off now that it’s so close to the end?
Kicking and screaming, probably.
Right, they’re going to drag you out?
Oh yes, I’ll be livid (laughs). They’re going to have to literally drag my carcass out of that theatre. Hopefully, on my last night, I will just spontaneously combust and then no one has to worry about it. I explode, and the dress just sort of floats down to the ground. That’s the ideal scenario – a great dramatic ending – and I won’t have to think about what’s next.
I imagine that Mary is the kind of character who would stay with you regardless.
Oh yes, even if you think you’re tired of her, even if you think you can’t do it anymore, she calls everyone back. So I imagine there will be a time in the not-so-distant future where the curls will be screaming for me.
jacket + dress. Leo Prothman
opposite
coat. Sam Macer
Listening to you talk about Mary, she sounds like someone we’d all like to be, but none of us are quite bold enough to go for it. Has she taught you anything?
Oh, that just immediately made me weirdly sensitive and emotional. She’s taught me a lot about fearlessness and really just going with your gut. She’s a woman who feels so unseen and so held back and so ignored by the world around her and by the people around her.
She firmly believes that she has something special within her, which I think is the common experience of any performer. So many people are so grossly overlooked in this business, and Mary lives with this tenacity and this fearlessness, this attack, and this belief in herself that is so liberating. It’s something that I wish I had more of. I have a much more laid-back approach to this industry, which is probably for the best – you can ruffle a lot of feathers when you’re sure that you’re the greatest thing in the world. Some people are probably gleaning that from certain celebrities who are talking a lot nowadays about themselves.
There’s been a lot of them recently…
It just seems to be happening a lot more. At the end of the day, there’s no right or wrong way to be confident. But the reality of it is that Mary Todd Lincoln is a bit aggressive and a bit much, and she will do anything to become a star. And that is not really a quality that we should admire. I think that’s where our similarities come to an end.
I know you’re about to head off for the matinee, but before you dash, I have to ask: has ‘Oh, Mary!’ and Cole inspired you to think about writing your own play someday?
It could be, yes. As a writer, the most recent thing I did was a multimedia piece with Audible. It was a live show we captured the audio for, a history variety show about the cyclical nature of queer history called ‘The Pansy Craze’. Each episode hyper-fixates on a very specific moment in time and a specific performer or person. We wrote about eight hours of content, and we’re in the editing process now. It’s coming out in June on Audible, but I have yet to write a play.
Cole has definitely inspired me, with the confidence of this play, with the confidence of their voice, and how well it’s connected. It’s made me think: “Why haven’t I done this in some capacity yet?” So I think, thanks to Cole Escola, there may be a future in which I try to write some sort of ridiculous play myself.
dress. Elisabetta Franchi
Book your tickets now for ‘Oh, Mary!” at trafalgartheatre.com.
photography. Fran Gomez de Villaboa
fashion. Rui Santos
talent. Mason Alexander Park
hair. James Michael Butterfield using Hair by Sam McKnight
make up. Kevin Cordo
photography assistants. Ludmilla De Luca Perazzi + Serena Lewis
interview. Jule Scott
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
