POTSHOTS AT THE PREZES: Two Satires Throw Darts at Bush & Clinton by Kerrie Smith

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.

 

The direction and choreography, both by Casey Hushion, is brisk and creative, down to the quirky ho-down with real hoes and a vivacious, hip-hop-infused dance circle. The set by Seth Slkar-Heyn consisting of foam-board bundles of wheat and DC monuments lends itself to the spoof.

 

The beauty of MONICA: THE MUSICAL of course lies in its built-in irony, the fact that with every turn of events, every lie told, we know what's coming, we know how things really went down and we know how things end up. It astutely mocks socio-political commentaries, like the impact of the media, the moral fiber of the country, the fickleness of the public and how the commander of the freee world can make the biggest faux pas of his career and his wife can wind up Senator.

 

Even better is the savvy, uproarious BUSH IS BAD at The Triad. Dubbed The Musical Cure for Blue State Blues, it is. This show is for anyone who is frustrated with the current administration and needs some cathartic relief. Not only is it infectious fun for Democrats but it feels rather good – nay, imperative – to gather like-minded people in the same room after being forced to deal with another four years.

 

Directed by Gary Slavin, BUSH IS BAD features a repertoire of songs, each of which becomes a skit in itself. Its stars – Kate Baldwin, Neal Mayer and Michael McCoy, along with Joshua Rosenblum tickling the ivories – all of whom obviously take sheer delight in participating in this show – unapologetically dive right in.

 

More of a cabaret show, the trio together in song take pointed jabs at George W, his cabinet and conspirators via catchy tunes, wickedly funny lyrics and acerbic impersonations. Among the delicious topics on the table are God, speeches, hypocrisy, Medicare, abortion, The Patriot Act, hanging chads, homosexuality, FEMA and impeachment, not all necessarily in that order.

 

The songs ooze Americana, from jazz and hymns to blues and marches, and with titles like "How Can 59 Million People Be So Wrong?", "John Bolton Has Feelings, Too" and "New Hope for the Fabulously Wealthy," the whole audience can't help but roar with laughter and communal applause. "I'm Losing You Karl" features Bush losing reception as Karl Rove feeds him lines during a conference; "Love Song of W. Mark Felt" envisions Deep Throat having a clandestine meeting with Valerie Plame; "The I Word," a Schoolhouse Rock-inspired song explains impeachment, complete with homemade signs posting anti-Bush websites; "Good Conservative Values" pays homage to those good conservative middle-America groups whose smiley congenial pleasantries are laced with hatred and intolerance.

 

The three complement each other swimmingly, gadding about in small but swift movements choreographed also by Slavin. Mayer and McCoy are terrific, especially the former's stint as a homosexual who wants to reform the whole country in "The Gay Agenda" and the latter as John Ashcroft in "The Beaten By a Dead Man Blues"(do I need to explain?) Kate Baldwin shines as a robotic, unhinged Ann Coulter and is simply superb as well, yes, God, who spats her solemn disgust at honchos Pat Robertson, Jerry Falwell and Tom Delay, "creeps and lowlifes who claim to speak for me."

 

A few gems have nothing to do with the present; they are the imaginings of what past master composers would have to say about the subject of the current president, had they had the chance. McCoy does a comical turn as Robert Schumann, delivering a precise, thick accent in a classical Das Busch Ist Schlect (even in German it's hilarious), while Mayer channels a martini-wielding Noel Coward atop the piano, gushing over the smashing party in "The Inauguration Was Marvelous." But the best of the bunch is Baldwin as Laura Bush letting it all out in Sure You Betcha Georgie, a Kurt Weillian-Surabaya Johnny parody, where she laments about her embarrassing, underachiever hubby and drunken daughters while she maintains a Stepford Wife stiff upper lip.

 

The finale "In His Own Words" speaks for itself. It's open season for every Bushism emitted from the President's mouth.

 

Only in America!

 

 

MONICA: THE MUSICAL at Upright Citizens Brigade Theater, 307 West 26^th St. Call 212-352-3101 or visit www.nymf.org for dates and tickets.

 

BUSH IS BAD now through October 27 at The Triad, 158 West 72^nd St. Call 212-352-3101 or visit www.theatermania.com for tickets.

 

 

 

 

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