Mrs President with Keala Settle at Charing Cross Theatre – review

John Ransom Phillips’ Mrs President offers an intimate portrayal of Mary Todd Lincoln, the 16th First Lady of the United States. Phillips expresses that the play is about resurrecting Mary’s humanity and story, allowing it to be told with empathy and understanding.

Taking place in the aftermath of Abraham Lincoln’s assassination, Mrs President follows Mary Todd Lincoln (Keala Settle) as she grieves her loved ones and attempts to change her public perception. Seeking help from the famous American Civil War photographer, Mathew Brady (Hal Fowler), Mary sets out to change her image and take a portrait to showcase who she really is.

Bronagh Lagan directs this two-hander, which examines Mary’s life and history as we know it. Faced with widespread scrutiny and often vilified, the show aims to provide a deeper understanding and give her a voice.

As Brady begins taking her portrait, Mary recounts key moments from her life, from grieving her son to the devastating loss of her husband. During these scenes, Fowler multi-roles various figures whom Brady has photographed. It is unclear whether the interactions were memories or hallucinations, and what relevance this adds to the story.

The dynamic between Brady and Lincoln is interesting, especially as there seems to be a power struggle here. Fowler is convincing as the overconfident photographer, while Settle delivers an impactful portrayal of Mary. She performs with an impressive range of emotions, displaying a woman who has faced unimaginable tragedies, brilliantly capturing the grief, exhaustion and resilience Mary exudes.

The design elements are the production’s strengths. Anna Kelsey’s set features a large golden picture frame, perfectly matching the context of the play. The historically accurate period pieces include elegant, hooped dresses for Mary, while the set is a plain photography studio with wooden furniture and portraits on the wall. The lighting by Derek Anderson is intense, with bursts of sweeping light during transitions, as well as striking video projections, which evoke a sense of unease.

The play touches on heavy subjects such as child loss, mental illness, slavery and racism; however, they feel fleetingly explored. It would have been beneficial to dedicate more time to these themes.

When Mary exclaims, “I am never seen,” there is a whiff of irony, as this play still doesn’t really help us “see” her for who she (perhaps) truly was. The script remains surface-level, reiterating what audiences may already know about her. The show focuses on her role as a wife and mother without offering significant new insight into her life. While we certainly feel empathetic towards Mrs President, I had hoped the script would develop more of an identity for the character, aside from being Abraham’s wife.

Despite the compelling performances and strong design elements, the writing could benefit from a sharper focus here. There is potential and an interesting discussion to be had about Mary Todd Lincoln’s legacy and what she represents, but it isn’t quite there yet.