Review by Sophie Wilby
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American history is far from my area of expertise - so much so that if it weren’t for the quick Google search I made before seeing Mrs President, I wouldn’t even have been able to tell you Mary Todd Lincoln’s name. But even with such a brief search, it was clear to see that Mary’s life was one plagued by tragedy. From losing her mother when she was a child, to losing 3 out of 4 of her children, to witnessing the assassination of her husband and finally, to being institutionalised by her son, the life of one of America’s most famous first ladies was not an easy one. And it is the story of this complicated life that John Ransom Phillips tells within Mrs President, aiming to bring her out from the shadow of her husband.
Mrs President is the imagined interaction of Mary Lincoln (Miriam Grace Edwards) with photographer Matthew Brady (Sam Jenkins-Shaw), known for taking the portrait of Lincoln that he credited with helping him win the election. Mary’s interactions with Brady serve as a means of exploring her identity - she aims to improve her public image, reportedly from one of a woman of frivolous spending, who is overly emotional and whose loyalties are divided due to her family’ support of the Confederacy. It is over 75 minutes that we see Mary and Brady negotiate this new identity, battling over who gets to decide what this new image will be - will she be depicted as the mother of a new nation, or something entirely her own?
Within this battle between Brady and Mary, there is an attempt to introduce complicated themes such as the role of women in the 19th century. However, this is done both too heavy-handedly and too briefly to feel impactful. For example, Brady exclaims “You are not a person, you are a woman” and likens the position of women in society to that of slavery, which feels too controversial a sentiment to be dealt with so casually. Though she attempts to fight against this reduction of her character to merely her sex, the story fails to show anymore to Mary besides her womanhood, in the sense that whilst she appears to battle against being reduced to a daughter, a wife and a mother, the play does little to elevate her beyond that, cementing her in the grief she has suffered during those stages of her life. This ultimately left me questioning what the play is trying to achieve; though it claims to delve into questions of female agency, it does little to show Mary as someone beyond the circumstances out of her control (largely meaning, the losses she experienced). Nor does it do much to challenge the apparent assumption of her as frivolous, instead having her repeatedly discuss her outfits, alluding to the cost.
It is because of this that even if it is to be taken as a retelling of her life, then it still feels lacking. Much of the play is centred around the loss of one of her sons (in an overly drawn-out metaphor about apples), but it is unclear why just the one is focused on rather than all three, for example. It is as though I learned as much from this play as I did through the briefest of Google searches, which again, only leads me to question the intent behind it. Furthermore, there is no clear timeline through Mary’s life, as the play appears to jump around sporadically - whilst this approach to storytelling can work effectively, in this instance, it fell somewhat flat and only added to the feeling of confusion. And even if this was intended to reflect her mental state, hinting towards her later institutionalisation, it still did not feel effective.
As the two battle for control of her image, there is also a feeling that Mary’s story is lost amongst Brady’s own. Brady’s internal conflict appears to be his failing eyesight, and a desire to be remembered and secure his place in history through photography. Though this in itself, is interesting, and so too is the introduction of some historical figures he photographed, it lacks the detail to be fully engaging - as though the story is trying to do too much within a short time. Any work done to engage in more serious themes is also undermined by the personification of an Irish chair and a Liverpudlian camera. As Edwards and Jenkins-shaw are absent from the stage, the two objects lament their positions in life with the chair wishing it were once again a tree. It is - quite simply - strange, and disconnected, serving only to offer some moment of levity within an ultimately tense and emotive story.
Credit, however, has to be given to the performances of Edwards and Jenkins-Shaw. Miriam Grace Edwards’ performance elevates the play substantially. Her palpable grief is almost uncomfortable to watch, which is a testament to the strength of her performance. Her Mary Lincoln is vulnerable and raw, but also determined and headstrong, commanding respect; it is within this complexity of character that Edward truly shines. Sam Jenkins-Shaw delivers a similarly accomplished performance as the cold and detached Brady, apparently consumed by his art. He morphs into Brady’s subjects well, distinguishing himself as each character, even if the existence of these scenes feels confusing and detracts from Mary’s story.
Alongside the performances of Edwards and Jenkins-Shaw, it is the design of the play which also elevates it. From the classically simple but clever set design (Gregor Donnelly) which transforms The Charing Cross Theatre into a believable photographer studio to the complimentary lighting design (Derek Anderson) and effective use of video design (Matt Powell) - each element works well to create the changing atmosphere as we are taken on Mary’s journey. It is because of each of these elements that visually, it is an impressive piece. It is just unfortunate that these visuals and the performances were not enough to save this play from its disappointing storytelling.
The present run at The Charing Cross Theatre is not the first for Mrs President, however, it feels as though more work could be done to hone in on the writing and tell a clearer story. Mary Todd Lincoln’s life is certainly an interesting one (which is perhaps why it is not the sole production exploring her life at present with Oh, Mary! currently playing in New York) but sadly, Mrs President does not quite yet do her story justice.
Mrs President plays at the Charing Cross Theatre until March 16th
For tickets and information visit https://charingcrosstheatre.co.uk/theatre/mrs-president
Photos by Pamela Raith