One notable name never comes up in 44: The Musical, a raucously funny trip back to the Obama era, written, composed, and directed by Eli Bauman, and currently onstage at Shakespeare Theatre Company’s Klein Theatre.
Historically and satirically speaking, you would think the show’s creator, who worked on Barack Obama’s 2008 presidential campaign, then briefly in Washington, D.C., wouldn’t choose to leave any prime targets off the table. Then again, as Bauman expresses in his recorded greeting that kicks off the show, 44 is about escaping the maelstrom of current events.
It’s a hopeful story told “in the spirit of joy,” and not every prominent figure we can think of aligns with that joyful spirit. So the name on everybody’s lips in this razzle-dazzle musical is Obama — that’s “Motherfuckin’ Obama,” to be precise, as sung in show opener “M.F.O.,” and reprised more than once for emphasis.
Lest anyone come expecting an exacting survey of the man’s presidency and politics, “M.F.O.” sets the tone for an irreverent, audience-pleasing, R&B- and gospel-tinged recap, told in sitcom style. Almost immediately, the show casts a comedic spell, stoked by nostalgia for the unmistakably good vibes of Barack and Michelle, acted credibly and sung impeccably by T.J. Wilkins and Shanice.
Wilkins, best known for his stint as a contestant on NBC’s The Voice, doesn’t exactly resemble Barack Obama, but he captures the speech and mannerisms of the charismatic senator-turned-President of the United States. And he croons beautifully through songs like “Red States Blue States,” a soulful call for conciliation in a nation divided by politics and culture wars.
That the country is also divided in the people’s response to electing our first Black president comes up for thoughtful discussion and sharp-witted derision in Barack’s “How Black Is Too Black?” The choreography by James Alsop is hilariously in on the joke here, highlighting with a few choice dance moves that Obama is a new kind of president.
Of course, Michelle Obama also brings fresh energy to the White House, announcing her arrival with the sassy “First Lady.” Conveying depth of character in that, and each song, and nailing the high notes, chart-topping pop and R&B singer Shanice carries her First Lady with strength and poise to match her husband’s, and to outclass their enemies.
Bauman gleefully re-imagines Obama’s political foes as secretly conspiring villains, which, in the case of Mitch McConnell (Larry Cedar), seems not just accurate but pretty forgiving, all things considered. There’s nothing forgiving about the second act’s comic highlight, “F.U.T.C.,” a proudly profane message for Ted Cruz (Michael Uribes), McConnell’s fellow member of W.H.A.M., the anti-Obama cabal of White Heterosexual Affluent Men.
They’re joined in their dastardly plotting by two who ostensibly, and amusingly, don’t fit the bill for W.H.A.M.: gloriously fey Southern gentleman Lindsey Graham (Ryan Williams, in for Jeff Sumner the night I attended), and hopelessly befuddled Black entrepreneur Herman Cain (Dino Shorté).
While Cain, along with W.H.A.M.’s secret weapon, Sarah Palin (Summer Collins), register as dated references in 2026, both resonate as examples of how quickly fighters can be tossed into, and knocked out of, the political arena. By contrast, Obama has in his corner two of the all-time great political survivors.
Ruefully ready to assist her former rival, Hillary Clinton (Jenna Pastuszek) gets her turn to vent in, appropriately enough, “My Turn.” Pastuszek’s pant-suited portrayal is funny, amping up Secretary Clinton’s reasonable frustration to epic indignation, but this is a parody we’ve seen before.
Offering a fresher take on the familiar, 44 strikes gold with its Uncle Joe (Chad Doreck), that other political lifer who, more than anybody, has his buddy Barack’s back. Shrewdly positing Vice President Joe Biden as the show’s narrator, recounting this monumental history as he sees it, the show grounds its insider view in their warm friendship, free to depict its subject with the outsized brotherly love Biden expresses constantly.
Embodied as a cheerful sidekick and big bro by Doreck, a performer much younger and (probably) spryer than Biden, this is bomber jacket Joe, the cool, Corvette-driving liberal who won’t stand for Mitch’s malarkey. He will stand up for his President, though, and does winningly, in song, dance, and rousing speeches that afford Doreck ample opportunity to practically walk away with the show, heartily repping the “spirit of joy” that flows abundantly through 44.
44: The Musical (★★★★☆) runs through May 16 at the STC’s Klein Theatre, 450 7th St. NW. Tickets are $44 to $207. Visit 44theobamamusical.com.
A spy for the Nazis and for the Allies during World War II, Juan Pujol García had to have been a very special special agent. Though he was loyal to the Allied cause, his counterespionage exploits earned him honors from both sides. Decorated with an Iron Cross from Hitler, he was also dubbed a Member of the Order of the British Empire by the King.
As depicted in Gustavo Ott's engaging new play GARBO, at GALA Hispanic Theatre, Spanish-born Pujol (Kevin Jorges) is a theater artist desperate to put his talents to work fighting fascists. Once in service, the smooth-talker's skillful lies help save countless lives before he vanishes into postwar anonymity.
The trusty stewards of Stephen Sondheim at Signature Theatre roll into a new season, unpacking the maestro’s demanding but rewarding musical Merrily We Roll Along.
The show, with music and lyrics by Sondheim and a book by his Company collaborator George Furth, tells a haunting showbiz tale in reverse chronological order, charting a best friendship from after it’s ended, back to where it began. Merrily often finds its characters making merry, but at its heart it’s a breakup story, tinged with regret, suited to Sondheim’s minor-key melodies.
The score is also full of bold, brassy flourishes, not unlike Signature’s new production, staged and choreographed by artistic director Matthew Gardiner. In tone, performance, and design, the production captures Merrily’s tension between glamour and heartache, success and regret.
"Well, that was horny." So declared a knowledgeable patron to me following the amply entertaining opening night performance of Monumental Theatre's The Rocky Horror Show at Dance Place.
True, the cabaret-style production, staged by company co-artistic directors Jimmy Mavrikes and Michael Windsor, accentuates every lustful beat of Richard O'Brien's classic sci-fi horror musical. But the show boasts many other qualities in living up to the co-directors' stated aim for "something sexy, immersive, goofy, gay, and, above all, fun!"
The audience brings a lot of the fun to Rocky Horror, through call-outs and other means of participation, encouraged here by the bag of props at your seat and instructions on your program. Further tips from the show's ever-alert Usherette/Narrator (Cera Baker) also prove helpful for Rocky Horror virgins, such as myself.
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