44: The Obama Musical began as a sold-out engagement at LA’s The Bourbon Room on Hollywood Blvd. where I first saw it, and for which it received seven 2023 Broadway World LA Awards including Best Musical, Best Direction of a Musical (Eli Bauman), Best Lead Performer in a Musical (T.J. Wilkins), Best Supporting Performer in a Musical (Chad Doreck), Best Musical Direction (Anthony Brewster), and Best Choreographer (Miss James Alsop). Followed by performances in New York City and Philadelphia before travelling to Chicago at the time of the 2024 Democratic National Convention, now you can experience all the hilarity and raucous political satire right here in Culver City at the Kirk Douglas Theatre through March 23.
Fans of Mad Magazine and Laugh Inwill certainly be in their element during 44: The Obama Musical (As Told Through the Hazy Recollection of Joe Biden), a modern satire written, composed, and directed by Eli Bauman, a former Obama campaign organizer,that takes a satirical look at the rise and presidency of Barack Obama, his close relationship with his wife Michelle, as well as the eccentric political characters he met along the way. Certainly, Obama’s election changed history. But 44 is the story of the Obama you won’t read about in history books – because history books are now banned in most states – but also because 44 is the story of Obama as Joe Biden kinda sorta remembers it…as a Musical!
The cast of 11 talented and highly energetic triple-threat performers is led byT.J. Wilkins as Barack Obama and Shanice as Michelle Obama. The two bring their closeness as a couple and the importance of their family life into focus through song, with tongue firmly in cheek when it comes to anything political. Hilarity ensues as no topic is off limits, no matter which side of the political world you call home, especially during Obama’s private meetings with leading Republicans (W.H.A.M. – today’s MAGA) who challenge his every move (Larry Cedar as top dog Mitch McConnell, Jane Papageorge as Sarah Palin (like you’ve never seen her during “Drill Me Baby”), Dino Shorté as Herman Cain (stealing the spotlight during his solo “Herman Cain” sung to the tune of “Purple Rain” with very different words!), Jeff Sumner as Lindsay Graham, and Michael Uribes as the unenlightened Ted Cruz).
Handsome Chad Doreckis perfectly cast as the always-smiling, frequently unbalanced, sometimes shirtless, tap dancing, cartwheel turning and usually clueless Joe Biden (suffering through a Benjamin Button moment!) who often pops in to keep Obama’s story moving along, with belter extraordinaireSummer Nicole Greer as Voice of the People always a standout rocking the house. Jenna Pastuszek portrays the waiting-in-the-wings for “My Turn” Hillary Clinton to bitter perfection every time she encounters the man “who took my place” in the White House.
Rounding out the ensemble is Marquell Edward Clayton as Brother Abe Lincoln and several other characters, with understudies Celeste Butler, Ally Dixon, and Scott Kruse ready to take on many roles as needed. The show also features legendary L.A. band House of Vibe All Stars with Anthony “Brew’ Brewster as Musical Director and keyboards along with Conrad Bauer(guitar), Corey Cofield, (bass) Phillip “Fish’ Fisher(drums), Greg Raymond(keyboards), perfectly positioned in the front side sections of the balcony just above the stage.
Even if you do not have a clear understanding of who these people were and how their presence affected Obama’s presidency, I guarantee you will walk away with a slightly left-leaning accounting as to what went on, both in public and especially behind closed doors. Do a bit of research ahead of time to understand what these people meant to each other to better appreciate the musical’s biting sarcasm.
Brilliantly contributing their artistic wizardry to the production are Miss James Alsop as choreographer; scenic design by Julio Himede, Avigail Gutfeld, Yellow Studio; lighting and projection design by Nathan W. Scheuer, perfectly suited to each character costume design by Haley Meeker with consultant Valerie Klarich; and sound design by Jonathan Burke.
44: The Obama Musicalruns through March 23 at Center Theatre Group’s Kirk Douglas Theatre, 9820 Washington Blvd., Culver City 90232. Tickets starting at $44 are available at www.centertheatregroup.com or at the Kirk Douglas box office. In the wake of the tragic LA fires, the producers have initiated a 20 Shows – 20 Families program during which proceeds from 20 of the shows will go directly to a family who has lost or been displaced from their home. The family will receive tickets to the show as well as dinner at a local restaurant before or after the show. Bauman said “44 is an L.A. show since the cast, the band, a majority of the crew and many, including myself, were born and raised in the city. This is our community. These are our friends and people. This is a way to be giving back in a way that feels authentic to us.” Please support these hometown heroes and entertainers by going to see 44 The Obama Musical and remember – the audience is welcome to shout out, sing along, and have tons of fun!
(Photo credit: James Esposito)
I Love You Because, a relationship musical set in 2006, begins with Austin Bennet (Troy Dailey), a greeting card writer who has his whole life planned out, preparing for a date on “Another Saturday Night in New York” with his long-term girlfriend Catherine. But when he arrives at her apartment, Austin finds Catherine in bed with another man. Dejected, Austin goes to his local bar where his brother, Jeff (Colin Huerta) the eternal bachelor, tries to cheer Austin up by telling him the best way to win a woman back is by being completely indifferent to her.
Meanwhile, Marcy (Cassandra Caruso), a flighty photographer, pours her heart out to her best friend, Diana, about her difficulty in finding the perfect man. Diana (Lauren Josephs), an actuary, tells Marcy the best way to find the perfect man is to find a man who is absolutely wrong for her so she won’t fall for him and get her heart broken again, which she proves through a series of calculations during “The Actuary Song.”
But after Diana meets Jeff, she agrees to set up a double date so Austin can meet Marcy for the first time. That way, the heartbroken duo can get to know each other over “Coffee” so Diana and Jeff can go off and do what friends with benefits do, even while claiming “We’re Just Friends.” The musical goes on to explore all the highs and lows of being single and hooking up while looking for love, filled with catchy tunes performed with sass and strong belting voices by not only the four main characters but also Renee Cohen and Ellie Rodriquez as NYC Citizens who take on many roles from bartenders to a waiter in a Chinese restaurant (which Cohen plays to the hilt hysterically) to subway riders and more. And kudos to stage managers Mara Aguilar and Vincent Macias who have their hands full organizing all the scene changes and making sure all the necessary consumables are available.
When things start to go wrong for Diana and Marcy, they head to the bar to consume shots of tequila, commiserating with the bartenders on a slow night, then expertly performing a chorus-line inspired rendition of “What Do We Do It For” when it comes to men. And that’s a question most women ask themselves more than once in their lives.
The many scene and costume changes were handled as swiftly as possible, choreographed like a ballet of movement and furniture placement, with a large wooden center set piece rolled out as the bar where singles meet, handled by Cohen and Rodriquez flawlessly. Other scenic elements designed by Rody Villegas and spot-sensitive lighting designed by Stephaney Knapp add to filling the intimate space to the max. Intimacy direction by Ariella Salinas Fiore played up the humor in each lovemaking session, even though one may shock the more conservative members of the audience. But I was disappointed with Michael Mullen’s costume design, especially his choices of ultra revealing tops for Caruso as Marcy. Was it really necessary to see her bra so prominently displayed in almost every outfit?
Meghan Ripchik’s direction and seriously rambunctious choreography portray these mid-twenties characters more like teenagers, even though they have been through break-ups and work at jobs they love, making the production more like a TV sitcom, which of course, are very popular. That mood was set during the adorable video playing before the show to introduce the characters, set to the music of “Friends.” But that silliness was a welcome distraction from the political turmoil in our world right now, offering some comfort through much-needed laughter. Kudos to onstage musical director Miki Yokomizo who accompanies the cast on keyboards without drowning out the unmiked actors, and mixing their natural harmonies beautifully.
I Love You Because with book and lyrics by Ryan Cunningham and music by Joshua Salzman is being presented by Chromolume Theatre at The Zephyr Theatre, 7456 Melrose Avenue, Los Angeles 90046 through March 16 on Friday and Saturday at 8 p.m., Sunday at 3 p.m., with an additional performance on Sunday March 9 at 7 p.m.. Tickets are $40 and may be purchased online at www.chrtheatre.com or at the box office prior to each performance, space permitting. Street parking only, so arrive early and read all parking signs carefully.