In this conversation with James Scully, we delve into his Broadway debut in Oh, Mary!—a hilarious must-see new play that has captured the hearts of audiences with its unique humor and brilliant absurdity.
Now playing through November 10 at the Lyceum Theatre following a sold-out off-Broadway run, Oh, Mary! is the rare treat that not only lives up to, but surpasses, its hype. As creator Cole Escola put it, the show addresses the age-old question of “what if Abe’s assassination wasn’t such a bad thing for Mary Todd Lincoln?”
James, who has long admired Escola, reflects on the personal and professional significance of his role as “Mary’s Teacher.” As we discuss Oh, Mary! and its ability to provide both comedy and a sense of escapism in a turbulent time, he reflects on how the show’s success reflects a broader cultural shift and why it’s resonating so deeply with fans. The actor—also known for films such as Fire Island and television shows like You—provides an insightful peek into the vibrant world of Oh, Mary! and the amazing people and things that make it happen.
AKN: Why is Oh, Mary! the perfect show with which to make your Broadway debut?
JS: There are so many reasons! I waited until Cole and I had built a rapport before I told them this so they wouldn’t think, “Oh God, I’ve hired a crazy fanboy.” But when I was around 22, I was living in Washington Heights, sharing a bedroom with a rotating door of strangers, and I randomly scored tickets to a Brooklyn Pride comedy show featuring Cole, John, Ham Sandwich, Isaac Oliver, and headliner Ilana Glazer—now, in retrospect, it was truly a gathering of titans. I didn’t live anywhere near the venue; it was an hour and 15-minute journey alone to the club. I sat in the front row with pride face paint on, in the dark, and watched these performers. I watched Cole and John take the stage and, in the course of an hour, they completely redefined what I thought was possible for queer people being funny. Cole performed a monologue about a pioneer woman discovering a giant shit on the side of the road. It was so groundbreaking that even secondhand descriptions make you giggle. So, to answer your question in a long-winded way, I’ve been a huge fan of Cole’s for a very long time. Every time they crack a joke, it seems to open a door in a person’s mind, changing their impression of themselves, the world, and what can be funny, and helping us reconcile grief and anger with comedy.
Personally, I’ve often been cast as the genteel, handsome guy, which I’m lucky to do. It’s usually as the embodiment of white, polite privilege. In this show, I definitely play that role in the first two scenes. But Cole has given me something none of those other jobs have: the chance to be the gay person I actually am. I get to unleash and scream obscenities at Conrad, which I could never have imagined. Back in school, there was so much angst about figuring out your type and slotting into a specific role. I experienced a lot of anxiety thinking I would just play roles like the Prince in Into the Woods for the rest of my life. Instead, I get to do this.
It’s also very gratifying that it’s a runaway hit. I saw Mike, our producer, in the backstage Meet and Greet area when I arrived at the theater yesterday. I walked up to him and said, “Hey, all of next week is completely sold out. That must be really stressful for you. I’m so sorry.” We both laughed, and he said, “It’s never like this.” I told him, “I know that when this show ends or I move on to another Broadway job, I’ll be ruined. It’s never going to be like this again.”
Conrad, I thought, was fabulous in Fire Island. He deserved some acting nominations for that performance. He was the perfect 2022 Mr. Darcy, and all the Jane Austen heads I know agreed. Getting to know him and Cole has been one of the most enriching parts of this experience. Conrad made a perceptive comment during press: there’s a lot of rage underlying Cole’s comedy. Sometimes, Cole seems to challenge the audience to laugh or be uncomfortable. Despite that, Cole is incredibly sweet, sensitive, kind, and generous. They have a clear creative vision but are unpretentious and open to collaboration. If you think you can come up with a funnier version of a line, pitch it. If it’s genuinely funnier, they’ll use it.
There are so many reasons that this is a perfect job. I would have been happy making my debut in anything. I’m lucky to be making a debut at all and proud of anyone who does. But I do feel especially chosen that it’s this show.
Just like it did off-Broadway, the show’s limited run keeps get extended on Broadway. Why do you think audiences have resonated so much with it and it’s turned into such a must-see hit?
Just as politics exists downstream from culture, culture exists downstream from what queer people like, and what queer people like exists downstream from what Black trans women like. We’ve seen ample examples of this, like Cats: The Jellicle Ball and the success of RuPaul’s Drag Race. I think Cole, because of who they are, managed to rally all the queer people downtown, and then those people told their friends they had to see it. I think that’s a big part of the success.
While there is a lot of heart, pain, and truth in the show, I also think it is ultimately very silly. There are messages and themes to be found, but I believe it mainly invites people to laugh for 85 minutes. There hasn’t been a lot of that in theater, cinema, or television lately. After the chaotic decade we’ve all endured with COVID and the turbulent political climate, much of the media has focused on reflecting society’s issues. This show does reflect some of that, but it also offers a break—just laugh at these ridiculous characters being silly. People have really missed that. Many have said it was refreshing to watch a comedy that, for the most part, is simply content to be a comedy.
To have a show set in the world of U.S. politics and still provide the escapism that we’re missing is really a testament to what you’ve all done.
I will say that after the assassination attempt there were a few times when, just as I was entering the booth, I would catch a glimpse of the gun in my peripheral vision and think, “Oh right, this is how the show ends.” I would get really nervous, wondering if we had shattered that special, detached-from-world-events aspect. But I think people don’t care much about him, so it didn’t end up being a big deal.
I think the key elements are that it’s funny, gay people like it, and Cole is just undeniable. Any night I give a really good performance, I know it’s truly because I was closely observing Cole and paying attention to what they were doing. It’s one of the best examples I’ve experienced of what they teach in college: focus on your scene partner. In college, that advice is challenging when your scene partner is another student trying to win a Tony before they’re even eligible. But when I’m on stage with Cole, I’m completely captivated—especially when I’m falling in love with them. The only downside is having to later pretend I’m not falling in love with them, which feels dishonest.
Is it difficult to not break character and burst into laughter when Cole is always hitting a 10 on the farce meter?
Not as much anymore, but only because we’ve been doing it for so long now. I’m lucky that, in my performance, my genuine charm in the first two scenes allows me a bit of nervous giggling. For instance, she made a new choice after I delivered the line, “O! How much more doth beauty beauteous seem by that sweet ornament which truth doth give.” She had never done this before—she sat on the couch, looked at me, and said, “What?” I had to turn away and compose myself, though it’s something that doesn’t impact the fabric of the scene.
There’s also a moment where it’s so clearly acting that it’s almost comical, but the audience loves it every night. She turns to me with real eager curiosity, asking, “How did you do that?” Sometimes, to let the laughter die down, I pause for a second and take her in. However, the audience sometimes assumes that my pause means I’m about to break character, which leads to a secondary wave of laughter. It’s hard not to get caught up in that. Even after performing it 200 times, you still occasionally think, “Oh my God, this is ridiculous. I can’t believe we’re getting away with this,” especially when just seconds earlier, I was moved to tears by what was happening on stage. So, not usually, but sometimes.
How is “Mary’s Teacher” different from any other character you’ve played before?
He’s a lot more duplicitous. Playing an actor who is constantly ridiculed for his acting skills has been a fascinating experience for me. It’s almost like exposure therapy—being told nightly that I’m terrible at this by Cole. There’s so much depth in this character that Cole has given me, especially in moments when I get to take on a powerful turn. Sometimes I forget how unique that experience is, and it’s striking to see that others are surprised by the impact of these moments.
The character feels like a combination of who I am and a parody of what I’ve often been asked to be. He’s like a mix of Charlie from Fire Island and Forty from You season two. There’s a challenge in this because when things aren’t going well, it feels like it’s entirely on me. I’ve been set up for success with all the tools I need, and that’s what’s so exciting and different about this role. If I can be brave enough to do my job well, it can be truly brilliant and celebrate who I am as a person–though that’s also terrifying.
In the breakup scene at the saloon, channeling that rage has been powerful. Many people relate to that scene, especially the moment where it shifts from, “You’re such a great guy” to “No, fuck you.” It’s a lightning rod for anyone who has felt betrayed or frustrated in a similar situation. Cole is excellent at capturing both the best and worst parts of us, and it’s thrilling to feel like an avatar or conduit for the rage of every audience member who has been dumped unceremoniously.
You don’t get opportunities like this in every job. Sometimes TV roles feel unrealistic, with characters who don’t talk, act, or feel like real people. Cole’s writing avoids that. Even when it’s ugly and undignified, Cole captures the raw reality of human experience, which is probably why people respond so avidly to the work.
The play reunites you with your Fire Island co-star Conrad Ricamora. What do you like the most about working together and how has that experience been different on stage versus on film?
He’s just really good at what he does. It’s another thing that makes this experience feel like a friends-and-family community event. On Fire Island, even though we were supposed to be lifelong best friends, we didn’t get much screen time together. I didn’t get much insight into his process on set because we were often separated, him with Joel and me with Bowen.
However, being in the rehearsal room with him has been such a special experience. He’s a seasoned professional with extensive Broadway experience, but he looks younger than I am! For instance, after coming off a journey like Here Lies Love, where he first did the show and then brought it back to Broadway a decade later, he has been excellent at setting clear boundaries around work. He maintains a healthy balance. He’s very disciplined about leaving work behind and not letting it consume his personal life. While I’m still in a phase where I’m fully immersed in the show 24/7, it’s good to have someone like him around.
When we were sharing a dressing room at the Lucille Lortel, he was like a wise mentor, offering practical advice without being overbearing. He understood how the Broadway system works, something the rest of us are still learning. It’s my debut, Cole’s debut, Hannah’s debut, Tony’s debut. Sam is making his directing debut. Conrad’s experience has just been invaluable.
I feel so lucky that later in my life, I can say I worked on two major, successful projects with the great Conrad Ricamora. When I first learned about the Lucille Lortel run and that Conrad would be playing Lincoln, I was genuinely excited and emotional. It confirmed that this project was being taken seriously and earnestly. He’s fabulous. There are days in the saloon where I’m genuinely intimidated by him, which is thrilling. When I approach him to deliver a line and know he’s about to react strongly, there’s an electric tension. He separates his internal life from his performance but takes his work very seriously and excels at it. If I just focus on Conrad and respond to him, everything I need to do my job correctly is right there.
There’s a lot of physical comedy in your work here as well. How do you stay healthy while you’re performing in 8 shows a week? And what’s your idea of the perfect day off?
First of all, we have physical therapy, which I think is a surprisingly humane aspect of the Broadway experience. They don’t offer this on film and television sets, even though you’re often performing the same physical actions repeatedly over a long period. On film, they’d just say, “Oh, if you want physical therapy, you should go arrange and pay for it yourself.”
Our physical therapist, Sarah, is fabulous. I typically go in at least once a week to address any issues. For instance, if I’ve strained my neck from a dramatic movement, she helps me out. I bike to and from the theater every day using one of those manual city bikes. It really gets the blood flowing by the time I get there, from Brooklyn to the theater. It’s important to stay active; rolling out of bed and taking a car to work might lead to injuries. I get to the theater early, stretch, and fortunately, our show is 75 to 80 minutes long. We’re all careful with each other, especially since Cole wears a 35-pound hoop skirt. Everyone really cares about each other’s well-being, so we make sure all stunts are safe. That’s how we’ve managed to avoid serious injuries up to this point.
On my day off, I sleep a lot—to the point where I sometimes worry that I might need to check in with my primary care provider to make sure I’m not slowly dying. The amount of sleep I need is probably due to the adrenaline your body generates when you’re on stage. Conrad sets a great example in this regard, and I’ve learned a lot from observing my Broadway friends. They all emphasize the importance of being selfish about recovery. It’s intimidating to wake up and think, “Come hell or high water, I’m doing the show tonight,” so you have to prioritize what you need to do on your day off.
I use Sundays, our day off, to catch up on cleaning and laundry, as these tasks often get neglected during the week. I used to think I’d spend the whole day doing chores, but it turns out Sunday is also my day to socialize, see movies, and go dancing. Interacting with people is crucial for me, as I’m a huge extrovert and get quite sad without social engagement. So, I fill my Sundays with activities and seeing people. On Mondays, I basically just sleep all day until I wake up to work out and then bike to the show.
What was your first and what is your favorite Broadway show?
My first Broadway show? I came to New York on a school trip in middle school, and we saw The Pajama Game, starring Kelly O’Hara and Harry Connick Jr. At the time, I had no context for it. Now, looking back, it’s crazy that I got to see that show. Even though I initially wondered what the show was about, within 30 minutes, I was completely mesmerized. It was the most astounding thing I had ever seen.
As for favorite Broadway shows, Natasha, Pierre & The Great Comet of 1812 holds a special place. I saw it when it was still in the tent, before it moved to Broadway. Working with Sam Pinkleton has been amazing because I still have most of that show memorized. I’d often sing it during rehearsals, and Sam would be impressed, saying, “Wow, you actually know it.” I’d reply, “No, I’m not a fake fan—I genuinely loved that show.”
Cabaret is another favorite. I haven’t seen the new production because our schedules are identical, but I saw the second revival with Alan Cumming. Oh, and as I’ve mentioned, I was lucky enough to see Cats: The Jellicle Ball. I plan to see it again later this month. I was crying the entire time; I hadn’t felt so elated and moved in a long time. Have you seen it?
I haven’t yet but I really want to!
I’m sure you’re very busy, and I know that getting tickets can be difficult and expensive. I’m also not someone who usually spends a lot of money on things like that. However, I did splurge and got a cabaret table seat because it was one of the few options left. I showed up with some anxiety, thinking, “Oh God, I spent a fortune on this—what if it doesn’t live up to expectations?” But it turned out to be the best money I’ve spent in a really long time.
Now, my favorite thing to do is wear the shirt when I go out, whether it’s to Soul Summit, TY TEA, or wherever I’m going on a Sunday. It’s a great conversation starter, and people come up to me, saying, “Oh my God, wasn’t it amazing?” and I can’t help but agree. I’ve liked Cats since I was a kid, even though I know I shouldn’t admit that. But this production has finally given that music, poetry, and property the context and power it deserves. It’s truly perfect. I just wish it could run forever.
I saw that it just got extended again!
Yes! I immediately bought tickets to go again. It’s nice to be able to say that Cats: The Jellicle Ball is now a forever favorite.
Oh, Mary! is currently slated to end on November 10. Do you have a sense yet of where your fans can catch you next?
Our contractual options included the possibility that I might find something I wanted to do more than this, but I’ve activated my commitment to this show. Even during the break at the Lortel, when we knew we were transferring to Broadway, I was still auditioning for other things, but those auditions were half-hearted. I thought, “I can’t miss this opportunity to make my Broadway debut.” And I asked myself, “What job could make me happier than this one?” I really couldn’t pass up this chance.
So as of now, my commitment is to Oh, Mary! through November. Hopefully it will continue beyond that. We’ll find out when we find out. The challenge is that, unlike with shows on platforms like HBO Max or others where you can just get a free trial and watch it, it’s trickier to say, “Come spend $175 and see the show,” especially when talking to other broke actor friends living in New York.
Another beautiful thing about Cole is that, when we moved from downtown to the Lyceum, one of the major things they negotiated was increasing the number of rush seats and affordable tickets released closer to the performance dates. Cole has always thought critically about how to make theater more accessible to people who don’t have the means to come to New York and see it. That wasn’t part of your original question, but I thought it was worth mentioning.
Definitely! That’s so amazing. The high prices of tickets are such a barrier for so many people so the fact that there’s somebody in their position who’s actively trying to make theater more accessible is incredible!
Right?
I also want to say to anyone who likes me that one of the most rewarding parts of this experience has been going to the stage door, which I was initially very nervous about. Meeting people there has been so amazing. Every night, I get a snapshot of my history as a performer because there are always one or two people in line who want to share how much they enjoyed my previous work. For example, the other day, a young woman came who had written a book inspired by that ill-fated Heathers reboot I was part of in my early twenties. It’s incredibly meaningful to hear how my past work has impacted people and to reflect on my journey. So, if you’re a James Scully fan, come see Oh, Mary! and then wait at the stage door. I would love to give you a hug and sign your Playbill.
Thanks so much, James! Is there anything you’d like to add/plug that we didn’t discuss?
I just want to say that Cole Escola is a special, wonderful, and truly talented genius. Mike, Carlee, and Lucas, our producers, are perfect angels. Any producer I work with in the future will have a tough act to follow. I remember one of the first days at the Lortel, Mike and Carlee were there moving boxes. I thought, “Why are our producers lifting boxes?” I’ve never seen a producer do that before.
Everyone involved in this production is exceptional. If you’re seeing the show and wondering about the team, I can’t speak about myself, but everyone else involved—from top to bottom—is kind, thoughtful, and dedicated. They are working so hard on this piece of art because they believe it will make the world a better place. And I truly think it does, in its own unique way. That would be my sign-off.
PHOTOS | Emilio Madrid