Jenna Pastuszek, T.J. Wilkins and Chad Doreck (Photo by Bella Marie Adams)
Reviewed by Molly McLean
Center Theatre Group at the Kirk Douglas Theatre
Through March 23
RECOMMENDED
On the Sunday matinee of 44: The Musical at Center Theatre Group’s Kirk Douglas Theatre, composer/lyricist/producer Eli Bauman spoke before the performance. “This is where they usually tell you all the stuff you can’t do, but we’re not gonna say that — just don’t push it, we’ve had some yellers.” It was understandable why, once seeing the show.
The lights come up and a woman in a Rosie the Riveter-esque costume (“The Voice of the People” is her character title) begins to belt about “mother f—g Obama.” Joe Biden (Chad Dorek), unfazed by the terrifying prospect of stairs, tells us that this show will be his recollection of Obama’s first presidency. Dorek never misses an opportunity for a joke, wringing one from the slightest glance or exit. Obama (sung with perfection by T.J. Wilson) comes on and serenades the audience at the 2004 primaries like a lover: “…there ain’t no red states/ there ain’t no blue states/ only me, baby, and there’s only you.”
The sincerity of his delivery only heightens the musical’s satirical pitch, which begins to be feverish. It continues strong throughout the entire show. There are few pauses in the energy, little dialogue, even. Most of the musical lives up to its name, with a loud, enthusiastic live band (Anthony “Brew” Brewster” is music director) whose members interact with the characters.
The projections by Nathan W. Scheuer are quick, to the point, and help create visual gags to and remind the audience of pop culture references. Julio Himede, Avigail Gutfeld and Yellow Studio are responsible for the great scenic design. It is a simple Oval Office replica with changing panels, windows, and couches which allow for set changes and enhance jokes.
The Obama characters are sincere, earnestly singing their love for one another and the country. Michelle Obama (sung to the maximum by Shanice) sings of their “White House Love,” for example. They are basically infallible characters, and their beautiful singing voices communicate the charisma that explain their real-life success. T.J. Wilkins often looks at the ground when he is singing, which endears us to him, as if he’d been forced into the spotlight.
The costumes by Haley Meeker are simple and effective. The costumes for Michelle Obama are late 2000’s perfection: dripping chartreuse sleeves, for example. The targets of more blatant ridicule, like Sarah Palin, Lindsey Graham, wear more cartoonish outfits.
The choreography by Miss James Alsop was fun and useful — Obama does a Temptations-style step-and-snap, displaying his charm (“Obama cares / Obama feels”). All the transitions are smooth and swift. There is never a moment’s pause in the farcical pace.
The show’s top moments include a “Purple Rain” parody sung by Herman Cain (played to its height by Dino Shorté) and any time Dorek as Biden tries to outshine Michelle Obama. The show borrows from history and flies free when it needs to (I don’t believe Herman Cain ever had a pan-Africanist streak). This is thanks to the framing as Joe Biden’s recollection of the era.
The form of 44 makes sense for the content. This is a satirical, episodic musical approach to a group of public figures about whom we already have opinions. The songs have built-in action, like a filibuster, a stump speech, or an opinion segment on Fox News.
Prior to seeing it, I was worried this play would be too serious and obsessed with itself. But the jokes come so fast that it is impossible to take it seriously. It is a pleasure and a privilege to laugh at history. “The best of Bentham, Marx, and Veblen is high comedy,” says Kenneth Burke.
Kirk Douglas Theatre, 9820 Washington Blvd.; Culver City. Wed.-Sun., 7:30, Sun., 1pm; thru March 23. centertheatregroup.org Running time: two hours and 30 minutes with an intermission.
