{"id":17185,"date":"2025-03-16T10:28:21","date_gmt":"2025-03-16T17:28:21","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17185"},"modified":"2025-03-16T10:28:21","modified_gmt":"2025-03-16T17:28:21","slug":"m-f-obama-f-u-ted-cruz-44-the-musical-ctg-kirk-douglas","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17185","title":{"rendered":"M.F. Obama, F. U. Ted Cruz | “44: The Musical” @ CTG\/Kirk Douglas"},"content":{"rendered":"

\"44:\"\"Political satire musicals are an interesting sub-genre. In my youth, these were often records, such as
\n“The First Family<\/a><\/em>“, “The New First Family<\/em><\/a>” (and I guess even my favorite,\u00a0Stan Freberg Presents The United States of America<\/em><\/a> would fall into that category). Later, they became local shows or fringe-festival hits. I’m thinking of shows like\u00a0The Beastly Bombing<\/em><\/a> (which we’ve seen),\u00a0Clinton: The Musical\u00a0<\/em><\/a>(which I’ve heard). I’m actually scared to think about what the future Trump musical will be, although I expect quite a few attempts at the upcoming Hollywood Fringe Festival<\/a> (there were loads in past HFF – Trump Family Special<\/a>, Transition<\/a><\/em>, Trump in Space<\/a>, Zombie Clown Trump<\/a><\/em>… you get the idea). I’m talking about this sub-genre because we saw one of its members at the Kirk Douglas Theatre last night: 44: The Musical<\/em><\/a>. This was part of CTG>>FWD, CTG’s fill-in programming at their theatres that are advertised to season ticket holders, but aren’t part of the One CTG season proper.<\/p>\n

44: The Musical<\/em> focuses on the election and first term of Barak Obama, as remembered by Joe Biden (and we all know how reliable Joe’s memory is). This is young Joe, who wants to be seen and be a part of things, but is really in the background. Joe has two areas of interest: Barack’s relationship with Michelle, and Barack’s battle with W.H.A.M. — the society of White Heterosexual Angry Men, led by Mitch McConnel and Ted Cruz, and of which Herman Cain is the required token member to show they don’t discriminate. The songs cover a lot of posturing (and include loads of profanity and sexual talk — this is not a show for kids). Pulling out the posturing, the focus in Obama’s doubts about his ability to succeed, his battles with a Congress determined to stop him, and the hatred and divide in the US that only widened with his election (even though he hoped it would be otherwise). Sad to say, but this show does make the valid point that Trump was a knee-jerk response to Obama’s election as the W.H.A.M. electorate vowed to never again be ruled by a minority, and to do whatever they can to prevent that from happening again.<\/p>\n

There are a number of funny bits and some good comic lines: I particularly liked the aside about how the Republicans would never nominate a narcissistic candidate only interested in revenge, or something like that. I also enjoyed the portrayal of Fox News anchors as robotic blond female drones. But there were points where the show dragged on, and the point of the humor was lost.<\/p>\n

I will say the show made me realize that while everyone can remember who McCain’s running mate was, no one remembers Mitt Romney’s running mate. You have to look it up (it was Paul Ryan).<\/p>\n

Although there were some earworms (and I’ll note the cast album is available for listening but not download<\/a>, unless you know HTML tricks), the music isn’t particularly memorable nor would it have a long life outside of the show. It works in context, and sounds better on the album than in the theatre because they over-amplified everything, making the bass painful and the lyrics hard to make out. Some songs were changed from the cast album version: notably, “Gay for the N.R.A.” was replaced with “Thoughts and Prayers”; “Just a Boner” was replaced with “M.F.M. (Muthafukin’ McConnell)”; and “Yes We Can” was dropped.<\/p>\n

The performances were strong. Some were more focused on the comedy, such as Chad Doreck’s Joe Biden or Larry Cedar’s Mitch McConnell. Others were more focused on the music, such as T.J. Wlkins’ Barack Obama, Shanice’s Michelle Obama, and Summer Nicole Greer’s Voice of the People. But I think that overall the performances were good.<\/p>\n

Should you go see it? Well, it would be hard as the rest of the run is sold-out, but let’s talk in the abstract. If the loudness of music bothers you, no. This was just too loud. If it was at a normal volume, then it is worth it for the political humor, if you are in the mood for that. If you have trouble with either side being knocked down a peg or two, then avoid this and wait for\u00a0The Sound of Music<\/em> to return to the Pantages.<\/p>\n

44: The Musical<\/em><\/a> continues at the Kirk Douglas through March 23. Tickets, if available, would be on the show’s CTG page<\/a>.<\/p>\n

\u2014\u2014\u2014<\/p>\n

44: The Musical<\/em>. Book, Music, and Lyrics by\u00a0Eli Bauman<\/strong>. Directed by\u00a0Eli Bauman<\/strong>. Choreography by\u00a0Miss James Alsop<\/strong>.<\/p>\n

Cast<\/span> (\u00e6<\/sup> indicates Actors Equity): T. J. Wilkins\u00a0Barack Obama<\/em><\/span>; Shanice\u00a0Michelle Obama<\/em><\/span>; Chad Doreck\u00e6<\/sup>\u00a0Joe Biden<\/em><\/span>; Larry Cedar\u00e6<\/sup>\u00a0Mitch McConnell<\/em><\/span>; Marquell Edward Clayton\u00a0Brother Abe Lincoln<\/em><\/span>; Summer Nicole Greer\u00a0Voice of the People<\/em><\/span>; Jane Papageorge\u00e6<\/sup>\u00a0Sarah Palin<\/em><\/span>; Jenna Pastuszek\u00a0Hillary Clinton<\/em><\/span>; Dino Short\u00e9\u00a0Herman Cain<\/em><\/span>; Jeff Sumner\u00e6<\/sup>\u00a0Lindsey Graham, Coexist Lady<\/em><\/span>; Michael Uribes\u00e6<\/sup>\u00a0Ted Cruz<\/em><\/span>. Understudies: Celeste Butler\u00e6<\/sup> u\/s Michelle Obama and Voice of the People<\/em><\/span>; Ally Dixon\u00a0u\/s Hillary Clinton and Sarah Palin<\/em><\/span>; Scott Kruse\u00a0u\/s\u00a0 Joe Biden, Mitch McConnell, Ted Cruz, and Lindsey Graham<\/em><\/span>.<\/p>\n

Music Department<\/span>; Anthony “Brew” Brewster\u00a0Musical Director \/ Music Co-Producer, Keyboards<\/em><\/span>; Conrad Bauer\u00a0Guitar<\/em><\/span>; Corey Cofield\u00a0Bass<\/em><\/span>; Phillip “Fish” Fisher\u00a0Drums<\/em><\/span>; Greg Raymond\u00a0Keyboards<\/em><\/span>.<\/p>\n

Production and Creative<\/span>: Julie Himede, Avigail Gutfeld, and Yellow Studio Scenic Design<\/em><\/span>; Nathan W. Scheuer\u00a0Lighting and Projection Design<\/em><\/span>; Haley Meeker\u00a0Costume Designer<\/em><\/span>; Valerie Klarich\u00a0Costume Consultant<\/em><\/span>; Jonathan Burke\u00a0Sound Design<\/em><\/span>; Jud Nester\u00a0Content Producer<\/em><\/span>; Mike Emerson\u00a0Graphic and Video Design<\/em><\/span>; Bridget Rooney\u00a0Production Stage Manager<\/em><\/span>; Cassy Sottile\u00a0Asst. Stage Manager<\/em><\/span>; Johnny Rice\u00a0Assoc. Choreographer<\/em><\/span>; Sightline Productions\u00a0Production Management<\/em><\/span>; Situation Interactive\u00a0Digital Advertising<\/em><\/span>; Vic Cairl\u00a0Marketing Strategist<\/em><\/span>; DR Theatrical Manager\u00a0General Manager<\/em><\/span>; Eli Bauman\u00a0Lead Producer<\/em><\/span>; Monica Saunders-Weinberg\u00a0Lead Producer<\/em><\/span>; Steve McKeever\u00a0Consulting Producer<\/em><\/span>; Conrad Bauer\u00a0Assoc. Producer<\/span>;\u00a0<\/em>Anthony “Brew” Brewster\u00a0Music Co-Producer<\/em><\/span>; Shanice & Kerry Gordy\u00a0Co-Producer<\/em><\/span>.<\/p>\n

\u2666 \u2666 \u2666<\/p>\n

Administrivia: I am not a professional critic. I\u2019m a cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>; and\u00a05-Star Theatricals<\/a>. We\u2019re looking for the right intimate theatre to subscribe at \u2014 it hasn\u2019t been the same since\u00a0Rep East died<\/a>\u00a0(it\u2019s now\u00a0The Main<\/a>, and although it does a lot of theatre, it doesn\u2019t have seasons or a resident company), and post-COVID, most 99-seaters aren\u2019t back to doing seasons (or seasons we like). I used to do more detailed writeups;\u00a0here\u2019s my current approach<\/a>.<\/p>\n

Upcoming \u2666 Theatre \/ \u2663 Music \/ \u25ca Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (\u2295 indicates ticketing is pending).<\/p>\n