As Chicago prepares for the arrival of the 2024 Democratic National Convention at the United Center next week, a few blocks away, “44 — The Unofficial, UnSanctioned Obama Musical (As Told Through the Hazy Recollection of Joe Biden)” magnifies Barack Obama’s presidency to almost Biblical proportions. Fitting that the show is running only at Epiphany Center for the Arts, a rehabbed, former Episcopal church constructed in 1885.
The space itself certainly presents a magnificent visage: colorful stained-glass windows, vaulted ceilings and slick, ornate dark wood trim. Unfortunately, discordant acoustics mean the show’s dissonant bark distracts from its satirical bite.
’44 — The Unofficial, Sanctioned Obama Musical (As Told Through the Hazy Recollection of Joe Biden)’
The inception of “44” occurred around the presidential election of 2016 — when Hillary Clinton won the popular vote by roughly 2.9 million yet never quite made it to inauguration day. Eli Bauman, the show’s director, writer and composer, figured if Donald Trump could shamble his way to the White House, why couldn’t he — a musical theater novice who had volunteered for Obama in 2008 — write a musical honoring his favorite president?
The show kicks off at the 2004 DNC where Obama, then a junior senator from Illinois, stole the national spotlight and the hearts of liberal dreamers everywhere. The scene serves as fodder for the catchy “Red States Blue States.” The story line then jumps forward to cover key moments lifted from the headlines during Obama’s first term as president — serious matters like the passing of the Affordable Care Act and bizarre happenings like Ted Cruz filibustering by reading “Green Eggs and Ham” on the Senate floor. It also includes send-ups of larger cultural trends that ultimately emerged from his two-term presidency, things like the “Idiocracy”-ification of cable news and the evolution of the “Karen” archetype we all know and love today. Throughout it all, a cabal of conservative bullies (Cruz, Mitch McConnell, Lindsey Graham, John Boehner and Sarah Palin) attempt to thwart Obama at every turn.
Joe Biden (Chad Doreck) serves as master of ceremonies and unreliable narrator in “44,” appearing between songs to praise his good buddy Barack and fill in story gaps with a toothy grin. Doreck nails Biden’s essence of general astonishment, like a grandfather who just learned about the calculator app on his phone. (It doesn’t hurt, either that Doreck is a dead ringer for Hunter Biden.)
But the show isn’t called “46.” The draw here is T.J. Wilkins, a Season 6 cast member on “The Voice” whose Obama dances and sings with a silkiness and magnetism the former president can only wish he shared. Wilkins also demonstrates he can serve in a supporting role by sliding into choruses and duets that allow others in the ensemble to shine. Throughout it all, a small and effective band provides the musical beats.
It’s those ensemble moments that suffer the most at the hands of technical/sound gaffes. Epiphany’s main church space, Epiphany Hall, muddles the vocal mix when more than two people are singing at the same time — words blur together, and harmonies flatten. On opening night, at least every third line of group numbers was buried in cacophony. In one song, led by the affable Kevin Bailey as John Boehner, outstanding lyrics like “I’m a conservative man with a superlative tan,” and “It’s my party, and I’ll cry if I want to,” were overshadowed by the distracting din of competing voices. The relationship between Barack and Michelle Obama suffered as well because their duets could not quite convey enough emotion over the buzz.
Solos fared much better, and the cast is full of ringers whose liberal vibrato and trill demonstrate an enthusiasm to use every corner of the soaring space. Pop singer Shanice commands the stage as Michelle Obama, her coloratura soprano matching the First Lady’s multifaceted nature. Larry Cedar brings a serpentine charm to the already turtle-like mannerisms of McConnell, and Jeff Sumner, a chameleon who dons a variety of characters (and wigs) throughout the show, nails the theatrics and sensationalism of Graham.
And, while there isn’t a bad note in the house, Summer Nicole Greer, a supporting vocalist who’s credited as “Voice of the People,” effortlessly cuts through any clutter.
“44” is also rooted in the savvy creative decision to never speak about Donald Trump or even utter his name. (In his program note, Bauman references “a certain reality TV star.”) It enables the audience to fully transport back to the age of — to quote a song refrain from the show, “mother f—in’ Obama” — eventually standing to sing and sway along. Still, any church service loses some luster when the congregation has trouble hearing the sermon.