For some, it’s the perfect panacea — an unofficial and unsanctioned musical homage to our 44th U.S. president, Barack Obama. Simply called “44,” the show is also riotously funny, amazingly acted, and features a live band, fantastic singing and smooth dance moves not only by Barack (of course!) but Mitch McConnell (who knew?). If you want to forget the outside world for a couple of hours with a blast to the past, run don’t walk to the Kirk Douglas Theatre. You will not be disappointed.
A genius inspiration of Eli Bauman — who wrote the story, composed the music and directs this production — “44” is what Saturday Night Live should be, but times 10. Major and minor moments of the Obama presidency, which began in January 2009, are blown up through rich music, clever lyrics (including how his hair got suddenly gray) and comedic expression by an excellent ensemble cast.
Our narrator for this tour (de force) is Joe Biden (a phenomenal Chad Doreck), a younger version of Obama’s vice president, and later the 46th president, but still replete with his familiar stiff walk, unsteady staircase gate and aviator sunglass-wearing awesomeness. Joe acknowledges up front that this version of Obama’s story is from his own hazy recollection, but it’s fairly close to how the rest of us remember it, too.
The nostalgia begins with opening anthem “M.F.O.” and its driving refrain, “mother f*ing Obama,” which pretty much captures the man's legendary status in the hearts and minds of many. Hearing Obama (a terrific T.J. Wilkins) sing that there are no “Red States Blue States” but only the United States — accompanied by soulful “Voice of the People” singer Summer Nicole Greer — and later how “Obama Cares” above all, is a refreshing reminder of how far we’ve come (or gone) since 44’s two-term presidency.
The Obama of Joe’s memory also grapples with personal feelings, from insecurity about his campaign persona in “How Black is Too Black” to shared moments with wife Michelle (a sultry-voiced Shanice) in “White House Love” — with Joe lurking around, too, as enamored with Obama as everyone else.
Lest you believe this musical is all Obama all the time, enter Hillary Clinton (Jenna Pasturszek, superbly cast), hysterically (because she’s funny, not because she’s female) lamenting in “My Turn” about all the unqualified males who took away her shot. Pasturszek is so immersed in her character she makes Hillary’s eyerolls palpable and all the men believably afraid of her.
And lest you think this musical is not bipartisan, wait until you experience Mitch McConnell (Larry Cedar, unexpectedly fluid as a rapper), his lackey Ted Cruz (Michael Uribes, also breaking out unexpectedly in the hilarious “Filibusters”) and other members of “W.H.A.M.” — an acronym for white, hetero, affluent men, with its conspicuously token Black member Herman Cain (Dino Shorté).
We also get a Tea Party shoutout (remember them?) and an athletic performance by Jane Papageorge as a skanky Sarah Palin singing “Drill Me Baby” and stripping an American flag off a flagpole to pole-dance (choreography by Miss James Alsop also features groovy steps for Obama, slow dances for the first couple and rap numbers for W.H.A.M.).
As the musical depicts the difficulties of political negotiation (“What Would Liam Neeson Do?”), the poignant pain of school shootings (“Amazing Grace,” “Remember Me” and, of course, “Thoughtz N’ Prayerz”) and Obama's frustration at not being able to pass stronger gun-control regulations (the cathartic “F.U.T.C.,” which explicitly calls out the character with initials T.C.), we get highlights of a remarkable presidency that may be in our rearview mirror but can now live on thanks to Joe Biden’s memory.
A range of music by the House of Vibe band directed by Anthony “Brew” Brewster — featuring Brewster and Greg Raymond on keyboards, Conrad Bauer on guitar, Corey Cofield on bass and Phillip “Fish” Fisher on drums — infuses this production with vibrant sound (though it sometimes competes with the singing). And lighting shifts and video projection by Nathan W. Scheuer are perfectly timed with both the music and stage movements.
The only song that seems slightly out of place is “The One,” a flashback on how Barack and Michelle met in Chicago (south side), when she was his superior. While cute, the scene looks backward in time, disrupting the otherwise forward momentum of the narrative.
But the giddy opening-night crowd lapped it up right along with everything else — and you can, too! In fact, audiences are encouraged to sing along, dance along or otherwise express delight at our heroes or dismay at their naysayers. Any which way, “44” is an insanely fun, creative, truth-speaking reminder of what a presidency could be, and in fact was, for eight short years.
“44” continues through March 23 at the Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, with performances Wednesdays through Saturdays at 7:30 p.m and Sundays at 1p.m. For tickets and information, call the box office at (213) 628-2772 or visit CenterTheatreGroup.org. Run time is 2 hours and 30 minutes, including intermission.