Within a few minutes walk of Trafalgar Square there are currently two productions placing Mary Todd Lincoln under the spotlight. While Oh Mary! at Trafalgar Theatre opts for anarchic irreverence, the revival of Mrs President at Charing Cross Theatre travels firmly in the opposite direction, returning to the historical record with solemn intent.
Following its run at the same venue last year, this reimagined staging arrives with significant rewrites, new dramaturgy, and a completely new cast. Some of these changes bring welcome clarity, although the play still struggles to completely command attention.
John Ransom Phillips’ script, directed once again by Bronagh Lagan, begins before Abraham Lincoln’s assassination, sketching Mary as a First Lady already consumed by scrutiny and self-doubt. The bulk of the story, though, sits in the aftermath, where she seeks out celebrity photographer Mathew Brady in an attempt to reshape her public reputation. As before, Brady is presented as an amalgamation of at least two real life photographers, including the man who actually produced the famous spirit photograph. While the blending offers narrative economy, it also softens some of the sharper historical textures the play gestures towards.
The revisions since last year are certainly felt. More superfluous moments have been removed, including an ill judged sequence in which a couch and a camera began conversing with one another. Even with a marginally longer running time, the drama feels cleaner and more focused, making it easier to stay within Mary’s emotional world. Yet despite these trims, the script still relies heavily on exposition, often explaining Mary’s battles rather than dramatising them, and it continues to omit several of the more compelling aspects of her real life.
Visually, the production is as strong as ever. Last year’s staging was already atmospheric, and the returning use of lighting, video projection, and sound remains striking and, if anything, slightly elevated. Anna Kelsey’s set provides a handsome frame for Derek Anderson’s lighting and Matt Powell’s projection work, while Eamonn O’Dwyer’s sound design enriches the mood with a subtle but persistent sense of unease. Together they evoke the early art of photography with painterly precision. The result is a production that is undeniably beautiful to look at, even when the text falters.
At the centre of it all is Keala Settle, offering an affecting and often gripping portrait of Mary. In moments of grief she is particularly compelling, the pain almost physically present, and Hal Fowler’s Brady matches her with a carefully measured performance in which a hint of cruelty creeps in at just the right moments. Their scenes establish the psychological tension the play reaches for, even if the script does not always support them fully.
London may now boast two plays about Mary Todd Lincoln, but the unfortunate truth is that neither quite manages to do her justice. Mrs President is thoughtful, beautifully staged, and anchored by strong performances, yet it remains an uneven and overly expository portrait of a woman whose complexity deserves something bolder.
Listings and ticket information can be found here
