Imagine channeling the spirit of a legendary first lady through the lens of outrageous comedy – Jane Krakowski is making Mary Todd Lincoln unforgettable on Broadway in a way that flips history on its head and leaves you questioning everything you thought you knew about the past. But here's where it gets controversial: is it okay to turn real historical figures into caricatures for laughs, or does that cross a line into disrespect? Stick around, because we're diving into this wild ride, and you might just find yourself rethinking the boundaries of theater and biography.
To truly embody Mary Todd Lincoln night after night in the Tony-nominated farce Oh, Mary! at Broadway's Lyceum Theatre, Jane Krakowski turns to a quirky ritual that sets the perfect mood for her performance. 'I'm really drawn to The Ethel Merman Disco Album,' she shares with a grin. This choice isn't random – it's a way to tap into the energy of a legendary performer who embodied bold, unapologetic flair, much like the character Krakowski brings to life.
At 57, Krakowski has built a career out of delivering unforgettable, eccentric roles. Think Elaine Vassal from Ally McBeal, the hilariously self-absorbed Jenna Maroney in 30 Rock, and the delightfully deranged Jacqueline Voorhees in Unbreakable Kimmy Schmidt. Now, she's the newest star tackling the lead in Cole Escola's satirical play Oh, Mary!, which humorously reimagines the 16th First Lady as an aspiring cabaret diva with a serious fondness for alcohol. This Mary Todd isn't your typical historical portrayal; she's a force of nature, clashing with her husband – credited simply as 'Mary's Husband' – over her thwarted dreams of performing while he's busy navigating the Civil War.
Krakowski keeps some classic elements from past depictions, like those signature 'bratty curls' and a fiery, brash personality that drives her to rant and scheme against her spouse. Yet, she infuses the role with the sharp comedic timing and relatable groundedness she's honed over years in the industry. 'I enjoy highlighting people's flaws without holding back,' she admits, embracing the character's imperfections in a way that makes the comedy even sharper.
Interestingly, Krakowski was already a huge fan of Oh, Mary! long before joining the cast – she caught the show five times, witnessing Escola (the Tony-winning creator and performer) twice, and later watching Jinkx Monsoon, Betty Gilpin, and Tituss Burgess step into the role as the production evolved. Still, she never imagined she'd get the chance herself. The break came while she was starring in Stephen Sondheim's final musical, Here We Are, in London. Sam Pinkleton, the show's Tony-winning director and choreographer, approached her backstage with the subtlety of someone nervously popping the question.
'I basically told him, "If you're hinting at what I think you are, my answer is yes,"' Krakowski recounts with laughter. She officially joined the production in October, alongside Cheyenne Jackson (another 30 Rock veteran) as Mary's acting coach and Tony nominee John-Andrew Morrison portraying her infamous husband, Abraham Lincoln. The play, which has been packing the Lyceum Theatre since 2024, has drawn sold-out crowds, and Krakowski will wrap up her run in January when Monsoon returns to reclaim the spotlight.
Preparing for her debut was a whirlwind. Armed with the script and a video of Escola's performance – which she treated as the ultimate guide – she had just two weeks to get ready. Taking advice from her pal Tituss Burgess, she memorized the lines early, freeing her up to focus on crafting her unique take on Mary and mastering the challenges of navigating the character's enormous hoop skirt. While she jokingly references 'certain qualities' of Miss Piggy from The Muppet Show for inspiration, Krakowski approached the role with genuine depth. 'I always start with the script,' she explains. 'Even in something as over-the-top as Oh, Mary! – or many of my other parts – I aim to add a layer of honesty and authenticity before ramping it up to full-on campy humor.' For beginners in theater, 'camp' here means exaggerated, theatrical style that's playful and ironic, often poking fun at seriousness to create big laughs.
And this is the part most people miss: her preparation isn't just about the script – it's about blending reality with absurdity to make the character resonate. Fans often greet her at the stage door sporting custom 30 Rock T-shirts with phrases like 'The Rural Juror' or 'Jenna's Side,' a testament to the show's lasting popularity over a decade after it ended. Krakowski attributes this to its streaming revival and the genius of Tina Fey's writing. 'I sharpened my comedic skills immensely on 30 Rock, soaking up lessons from everyone involved,' she says. 'Tina's humor is timeless and incredibly clever.'
A Tony winner herself for her acrobatic role in the 2003 revival of Nine – where she literally descended from the rafters on silks – Krakowski is always on the lookout for her next Broadway gig, as it reconnects her with her acting foundations. She made her Great White Way debut at just 17 in Starlight Express, Andrew Lloyd Webber's musical about a train set that magically springs to life. Playing the rollerskating Dinah the Dining Car was a formative experience, teaching her the joys and demands of stage life without the fame of recognizable faces – after all, they were disguised as trains!
These days, Krakowski's name and face shine brightly on the Lyceum Theatre's marquee. After years of playing memorable supporting roles, she's savoring this starring moment later in her career. 'It's wonderful to experience new milestones at this stage,' she reflects.
But let's get real – reimagining Mary Todd Lincoln as a boozy cabaret wannabe raises eyebrows. Some might argue it's a fresh, artistic take that humanizes history through humor, while others could see it as trivializing real tragedies like the Civil War. What do you think? Does satire like this enrich our understanding of historical figures, or does it disrespect their legacies? Share your thoughts in the comments – do you agree that comedy can be a powerful lens, or is this kind of portrayal going too far? We'd love to hear your perspective and spark a conversation!
This piece originally ran in the Dec. 3 issue of The Hollywood Reporter magazine. Subscribe here for more insider looks at the entertainment world.
