Political satire is rampant in theater these days. With shows like The Miss Education of Jenna Bush, the venerable Capitol Steps and even A.R. Gurney's recent hit Screen Play, there is no end to the wonderful wealth of political fodder, care of the United States government. Two more parodies are currently adding to the festivities.
First on the bill (no pun intended) is MONICA: THE MUSICAL, which pokes frivolous fun at Clinton's scandalous relations with his now famous intern. Part of the NY Musical Theater Festival, this small homespun production is big in comedy.
Threaded together by Oklahoma-esque, downhome, yee-haw American ditties (music by Adam Blau) and peppered with clever, humorous lyrics (by Daniel J. Blau and Tracie Potochnik), the show traces Clinton's career, from his innocent farm days all the way to The Big Mistake and its repercussions. The witty songs and edgy book make it work but also in this show's favor is the uncanny resemblance each actor has to his or her character, adding to the amusement.
Starting with his youth on the Arkansas prairie we see young Bill (Duke Laffon, who's got the accent down pat) as a go-getter who dreams big of being Pee-resident in "I Got Dreams" (the chorus cheers on, "Grab your shovel by the handle, your future is filled with scandal!") He meets bookish Hilary Rodham, a little ball of energy in kooky glasses (Megan Lawrence) during the drug-infested, groovy 60s where they begin a relationship based on love – love of power, that is – and thus a business partnership is born, reflected in an adorable duet, "We're Freaky Deaky and We're Falling in Love."
Jump to the White House, where Clinton has risen as a charming president with much responsibility. Naturally Hilary – now a cutthroat – is the brains behind the operation ("You and me, we're the most powerful man in the world.") Ah, yes, Monica the Musical paints Clinton as a loafing, beer-guzzling cad with a one-track mind. And Hilary? Not only is she clued in to his infidelities, she doesn't even mind, because in this show, she's been having an affair with Janet Reno (a brilliantly raunchy yet repressed Kristie Dale Sanders) since their college days at Welleslian, where they shared "Things You Can't Imagine."
Enter Monica (Christine DiGiallonardo) who is portrayed as a dimwitted mall-rat who writes imaginary letters to her idol Tori Spelling (these are the days of Beverly Hills 90210, after all.) Passing him in the hall with a mochaccino, she and "Billy" begin a torrid affair which she believes is going to last forever. DiGiallonardo has a sweet solo, "I Don't Know Where I'm Going," which is probably the only time you will ever hear the innocent, heartbreaking tale of woe from Lewinsky's point of view. The empathy doesn't last long as the song ends with one of the most hysterical closing notes ever capping off a ballad in musical theatre history.
The pandemonium ensues, replete with all the usual suspects, including a deliciously metrosexual George Stefanopoulos (a side-splitting Josh Walden, perfectly coifed hair and all), a smooth Vernon Jordan (Rashad Naylor) who lampoons his own nebulous role in the administration, a sassy Betty Currie (American Idol's Frenchie Davis, who shines during the rousing gospel number, "Access Denied"), and a devious Ken Starr (Charlie Pollack). Pollack is the only one who feels a bit miscast; he's too young and not dweebish enough, but he sufficiently delivers his maniacal aria, "Shakespearian Asides." Ray McLeod also has a small, entertaining bit as Tom Jones (yes, THAT Tom Jones) who gives Bill etiquette lessons in the ladies' man department during a visit to London. The cast does a great job doubling as press and a few extraneous roles, particularly during the fast-paced number "We Spin," knocking out the lyrics at dizzying speed. There is also a terrific, droll scene implicating the influence of the small screen as each player in the scandal makes their statements on TV during "The Media Circus", while the Act I finale features a melodic "I Have Dreamed", filled with rich 9-part harmonies and counterpoints.
