Review
Asylum: The Strange Case of Mary Lincoln
York Theater
September 12, 2006


In today's accepted climate of psychoanalysis and various mood controlling medications, it's a little jarring to be reminded that less a century ago people who were thought to be 'problematic' were simply send away from the general populace. Asylum: The Strange Tale of Mary Lincoln provides some interesting insights into the pre-Freudian world of mental health in the 1870's (as well a look how women were treated in this environment). However, it is in setting this subject matter to music that makes for an awkward evening.

In 1865, Mary Lincoln was at her husband's side when he was assassinated at the Booth Theater. While fighting off the ensuing depression and grief, she lost three of her four sons within a span of six years. In 1875, her remaining son Robert (the eldest) had her committed for insanity claiming she was manic, delusional and irrational. The jury of her peers was 12 men. At the age of 56, former first lady Mary Lincoln entered Bellevue a private "premiere" sanitarium in central Illinois.

As this docu-musical progresses, we learn that Robert has aspirations for the presidency and was working behind the scenes to rig the jury and falsify documents (the fact that Mary was an avid "spiritualist" and always consulted a crystal ball did not work in her behalf). Mary calls upon an old childhood friend, Myra Bradwell to come to her aid. Myra works for the Chicago Tribune and within six months a cause celebre has been established with the public rallying to Mary's side. An interview with noted Tribune columnist Franc Wilkie helps to expose the trumped up charges and in late 1876 Mary is released from Bellevue.

The major problem with Asylum... is that it never really transcends the fact that it is a history lesson set to music. The book by June Bingham is the most interesting aspect of the evening simply because we get to learn the drama behind the Lincoln household. The second act is taken up to a large degree with the interview (sans music) between Mary and Wilkie (an impassioned Daniel Spiotta). Carmel Owen's music and lyrics are serviceable but bland. There seems to be an odd Sweeney Todd-like undercurrent at times which calls to mind another, better musical about madness. Ms. Owen has a nice feel for duets though; Lincoln Waltz between Mary and Abe is the highlight of Act I. Carolann Page as Mary is in fine voice and brings an intelligence and passion to the often mediocre songs. She does not extend this passion to her performance though. We need to see a little more of Mary Lincoln's delusional suffering (even if its cause is over-medication) for us to believe the possibility of confinement. Ms. Page often comes off just petulant or distracted. Edwin Cahill works hard to make Robert something more than a villain but is defeated by the material (the show is definitely on Mary's side). Coming from the world of opera, there is surprisingly little theatricality in Fabrizio Melano's direction. James Morgan's set however captures just the right element of ghostly instability. It's a shame that so little of the drama and heartache of Mary Lincoln's life is recreated in Asylum.

...end