Odyssey Theatre Announces The Death of Founding Artistic Director Ron Sossi

Ron Sossi

The Odyssey Theatre Ensemble recently announced that founding artistic director Ron Sossi died on Wednesday, March 19, at 85.

Born on November 22, 1939, in Detroit, Ron graduated from the University of Michigan with a degree in writing for theater and television before moving to L.A. to attend UCLA film school. He supported himself as a wedding photographer and water filter salesman there while earning his M.F.A. In addition to writing, Ron was an actor and a singer. He traveled to Korea, Japan, and Guam, courtesy of the USO, with a college production of Carousel, where he met fellow student and co-star Bonnie Franklin, and the two were briefly married from 1967 until 1970. After winning the Samuel Goldwyn Award for screenwriting at UCLA, Ron was hired as a program executive at ABC, where he oversaw productions of shows including Bewitched, The Flying Nun, and Love American Style, among others.

In 1969, frustrated and bored by his work in the television industry, Ron founded the Odyssey Theatre in a former storefront church on the seedy end of Hollywood Boulevard. With the raucous sounds of the porn theater next door seeping through, the Odyssey opened its inaugural productions of A Man’s A Man by Bertolt Brecht, The Serpent by Jean Claude van Italie, The Threepenny Opera by Brecht and Kurt Weill, and The Bacchae by Euripides. Long runs of these four plays sealed Ron’s reputation as a maverick with critics and audiences alike. In 1973, he moved the Odyssey to a larger venue in West Los Angeles on the corner of Bundy and Ohio. Starting out with one 99-seat performance space, he gradually expanded it into a three-theater complex. Critically acclaimed, award-winning productions included Peer Gynt, Woyzeck, White Marriage, The Adolf Hitler Show, The Chicago Conspiracy Trial, Nightclub Cantana, Tracers, Mary Barnes, Master Class, Edmond, Rapmaster Ronnie, McCarthy, Idioglossia (later to become the Oscar-nominated movie Nell), and Steven Berkoff’s Kvetch—the Odyssey’s longest running show at eight years. During the company’s 16-year tenure in that space, Ron produced and directed two-thirds of the Bertolt Brecht canon, including Baal (in which he also starred in the title role), The Caucasian Chalk Circle, Mother Courage, and Brechtfest 1 and 2. When the building was sold in 1989, Ron moved the Odyssey to its current home on Sepulveda Boulevard, a city-owned warehouse formerly used to manufacture gas tanks. The new Odyssey opened its doors in 1990 with his production of Faith Healer.

Throughout the theater’s 56-year history, Ron remained dedicated to presenting edgy, risk-taking live theater experiences, including an eclectic mix of new work and boldly re-envisioned classics. He was always particularly drawn to work by German and Eastern European playwrights, as well as to play exploring metaphysical and spiritual subject matter — part of a lifelong devotion that included studying and practicing Siddha Yoga, Hinduism, Sufism, Tibetian Buddhism, The Gurdjieff Work and, most recently, Bhakti Yoga and Advaita Vedanta. In 2001, Ron created KOAN, a resident ensemble dedicated to the regular creation of unique, devised works. (In Zen Buddhism, a Koan is a paradoxical anecdote or riddle used to demonstrate logical reasoning inadequacy and provoke enlightenment.) Ron’s KOAN productions included The Faust Projekt, Kafka Thing, and Buddha’s Big Nite!, as well as Sliding Into Hades, which received the LA Weekly Award for “Best Production of the Year” and Theater in the Dark, an LA Weekly “Best Production” award nominee. More recent productions included a revival of The Serpent for the Odyssey’s 50th anniversary; Wakings, an evening of short “mind excursions” exploring some of the many states of human awareness; and Elephant Shavings, subtitled “a lazy person’s guide to enlightenment,” which he also wrote.

At the helm of the Odyssey for 56 years, Ron received numerous awards, including the LA Weekly Career Achievement Award. He was twice honored with the Los Angeles Drama Critics Circle's prestigious Margaret Harford Award for “demonstrating a continual willingness to experiment provocatively in the process of theater” and with the circle’s Ron Link Award for “consistent quality of direction.” According to a 1982 Los Angeles Times article by Lawrence Christon, “When the Los Angeles Drama Critics Circle debated Ron’s merit as this year’s recipient of the Margaret Harford Award—they decided he deserved it—two adjectives that cropped up in discussion were ‘exasperating’ and ‘incorrigible.’” Christon went on to note that Ron “wished they had put ‘incorrigible’ on the award.”

Ron is survived by his wife, Séverine Larue, and his sister, Nancy Foley.

Following his instructions, no service or ceremony will be held. Ron wished that the ongoing vibrancy of the theater he built would serve as his only memorial. The Odyssey’s curtain will continue to rise, and every future performance will be a testament to Ron Sossi’s enduring legacy.

Better Brothers Los Angeles Celebrates LGBTQ+ Community At Truth Awards

Lee Daniels 

 By Darlene Donloe

The Better Brothers LA Truth Awards, co-founded by Scott Hamilton and Vincent Holmes, is a prestigious event celebrating Black LGBTQ+ excellence. 

This year's Better Brothers Los Angeles (BBLA) ceremony, presented in partnership with Emmy Award-winning actress Sheryl Lee Ralph's DIVA Foundation, will be celebrated over two days, March 14-15, in two acts.

Act 1, the ‘Passing the Torch’ awards ceremony, which recognizes rising talent in the Black LGBTQ+ community, will occur at 7 p.m. on Friday, March 14, 2025, at The Aster in Hollywood. 

The event will pay homage to the next generation by celebrating four emerging leaders - James Bland, Preston Mitchum, Amber Whittington, and Terell Grice, who Hamilton and Holmes say exemplify excellence in their respective fields. 

Act II, the celebration of excellence, continues from 5:30 p.m. to 11 p.m. on Saturday, March 15, with the 11th Annual Truth Awards at the Beverly Hilton Hotel in Beverly Hills.

The Truth Award is a tribute to resilience, authenticity, and community spirit. It has a decade-long history of honoring trailblazers and providing scholarships to Black LGBTQ+ students pursuing higher education.

Over the years, the event has recognized over 60 individuals and awarded over $300,000 in scholarships. Scholarships from $3,000 to $5,000 will be awarded during the event. 

Wendy Raquel Robinson

This year's honorees include Emmy Award-winning actress Wendy Raquel Robinson (‘The Steve Harvey Show,’ ‘The Game,’ ‘Poppa’s House’), who will receive the Ally Award; Larry Sims (style innovator) will receive the Business Leadership Award; Gil Robertson (founder/president, African American Film Critics Association) will be awarded the Media & Arts Award; Brittani Nichols (co-EP, Abbott Elementary) will receive the Breakout Star award; Dr. Kimberly Smith (ViiV Healthcare) will be awarded the History Maker Award; Dr. Leo Moore (Clinic Services, Los Angeles County) will receive the Rustin Advocacy Award; Wayman + Micah (Hollywood stylists) will be awarded the Andre Leon Talley Style Purveyor Award; and Academy Award® nominated filmmaker Lee Daniels (‘Precious,’ ‘Empire,’ and ‘Star’) who will receive the Lifetime Achievement Award for his contributions to entertainment and storytelling. 

“Lee Daniels is an out and proud Black man who creates stories,” Hamilton said.  “He puts the community at the forefront and creates roles that shine a lot on talent. He shows that we’re all human. Wendy has been an advocate for our community for a while. Her Amazing Grace Conservatory allows kids to be themselves.” 

Wendy Raquel Robinson, who hosted the Truth Awards in 2024, will receive the Ally Award this year for her steadfast commitment to advocating for LGBTQ+ rights.

“It’s a heavy room of dynamic people,” said Robinson, co-founder of the Amazing Grace Conservatory. “What’s interesting is that at Amazing Grace and throughout my life, not knowing that people were LGBTQ+, I’ve just been seeing people for who they are and loving them regardless. Be who you are without apologies and without condemnations.” 

Robinson, a two-time Emmy Award-winning producer, actress, philanthropist, and recipient of the NAACP Image Award, who calls the Truth Awards ‘Black excellence,’ said, “It was the room you need to be in. It’s warm, colorful, and a room full of lots of energy. I encourage everyone to talk in your truth. I’ve been a supporter. I feel seen.” 

"The narratives we choose to elevate shape how society perceives reality," said Hamilton, co-founder and program director of BBLA. "The Truth Awards are not just a ceremony; they are a manifestation of our commitment to recognizing those who bravely refuse to conform, instead choosing to redefine excellence by living their truths without apology.”

"In honoring these extraordinary visionaries, we're not merely acknowledging their achievements; we are celebrating the essence of courage in its most authentic form," said Sheryl Lee Ralph, founder of The DIVA Foundation. "Their groundbreaking work transcends limitations and invites all of us to envision a world where inclusivity reigns supreme." 

The Truth Awards has become a signature event in the Black LGBTQ+ community, providing a platform for celebration, empowerment, and recognition.

Hamilton and Holmes said that as the event grows, it remains committed to promoting excellence and supporting the next generation of leaders.

The mission of Better Brothers Los Angeles is to create safe and inviting spaces for members of the Black Queer community. 

“The goal of Truth is to create a visible public acknowledgment of Black Queer individuals and their accomplishments,” said Holmes.

“I look at the mission statement and the organization's history and what it stands for,” Robinson said. “Better Brothers puts their money where their mouth is.” 

The Truth Awards has grown since its initial launch. Hamilton and Holmes met 20 years ago and said the event came to fruition out of “a need.”

“Vincent [Holmes] reached out to me after our initial meeting about an idea he had of going on a trip out of the country with a group of guys,” Hamilton said. “Since no one knew us, we decided to do something locally to establish trust and consistency.”

Hamilton and Holmes hosted monthly happy hours at McCormick and Schmick’s in downtown Los Angeles for a while.

“The attendees started asking for other stuff,” Hamilton said. “We did hikes, went to The Bowl, did seminars on estate planning, etc. One day, while watching the People’s Choice Awards, there was an actor who was LGBTQ+ who didn’t acknowledge his partner. That’s when we came up with the Truth Awards. That was in 2014. During that time, people still weren’t comfortable being out.”

The first Truth Awards was held at the Wilshire Ebell Theatre.

“During the first event, it told us that people appreciate being recognized,” said Holmes. “It meant something to them. We realized we had created something bigger than us. We can sense that it’s making an impact. Half of the attendees come from out of town – places like Atlanta, New York, Chicago, D.C., and Houston. This event moves a lot of people. Sheryl Lee Ralph helped us move it forward.”

Better Brothers Los Angeles and The DIVA Foundation present the 11th Annual Truth Awards powered by ViiV.

Gilead, Atlantic Health Systems, The Kettering Foundation, LeadersUp, and Sony Pictures Entertainment support the event.

 

Keyboardist Charles A. Kelly Enters 'Phase II'

 

R&B/Jazz keyboardist Charles A. Kelly is focused on transformation, evidenced in his sophomore album, “Phase II,” released on February 21, 2025. An album of transition and spirituality that is the second in a trilogy, Kelly wrote, produced, and arranged ten new songs for the Innervision Records release. The third single from the project, a deep cut titled “Raindrops Under Glass” that imaginatively mixes classical orchestrations, African rhythms, and movie score melodies, was also released on Friday.

 

Kelly created his 2022 debut album, “You’re Not Alone,” to be the first in a trilogy. The album was to be like an establishing shot in a movie that captures the present moment – or sounds, in this case. His muse was the present state of contemporary jazz. Kelly conceived “Phase II” to serve as a bridge album, with the collection pushing the boundaries of the music genre, experimenting, and testing the limits and the definition of contemporary jazz – offering a thesis of what it could become. The third in the series will be a double album, an evolutionary realization, a visionary outing futurizing contemporary jazz.

 

“My mission for this album is to stretch the current boundaries of what is considered contemporary jazz. This genre has a rich history, but it has gotten a bit formulaic. For the music to grow, artists must have the courage to reach deep inside and create music boldly while building true connections to a wider audience. As a songwriter, I want to reach as many people as possible for the purpose of engaging in a real and genuine connection with listeners. I believe the only way to do this is to create songs openly and honestly, without restrictions. Listeners love authenticity and I want to be right there with them,” said Kelly, a Philadelphia native who has long called the Los Angeles area home.  

 

“Phase II” opens with the snappy, horn powered “That Groove,” anchored by the taut rhythm section consisting of bassist Jerome Randall and drummer Billy “Shoes” Johnson. Trumpeter Michael Stever captains (and arranges) the four-piece horn section alongside Andrew Neu (tenor and alto saxophone), Nick Lane (trombone), and Kelly’s son, Jason Kelly, on soprano sax. Kelly’s piano dances, radiating a joyous spirit.

 

“This funky and catchy song symbolizes the essence of confidence in oneself. In life when our mind, body, and spirit are in sync, there is a confidence we have, a radiant glow that shines through when others are around. People may not know personal situations or circumstances, but they see a glow and excitement they may want in their lives. When we can be free from worry and we focus on those things that make us better, we grow. From growth comes confidence,” explains Kelly.

 

Kelly’s piano remains radiant and ebullient on “SunSeeker,” the first single. A travel-inspired song, it peaked at No. 4 and spent eight months on the chart. 

 

Another invigorating joint, this one recalling his formative years performing in Philly nightclubs, “‘City Night” was the second single to preview “Phase II.” While writing the song, Kelly turned to Philadelphia music legends for inspiration.

 

“‘City Night’ captures the spirit of the Philadelphia nightlife from that period in my life, the time I spent playing in the nightclubs by Penn’s Landing on the Delaware River. Those nights are where I had a chance to feel the excitement of playing in front of crowds of people every night. That’s when I got a chance to feel that energy for the first time, the thrill of being on stage and performing. It was then that I knew I wanted to make music my career. I started looking at old videos of The Spinners, Blue Magic, Delfonics, and other legendary Philly International Records groups. Since I used to play with Blue Magic, it was fun and exciting to think about that time in my life,” recalled Kelly.

 

Incorporating fusion into the mix, “Bring It to Compliance” has a tension, focus, and intensity. Again, the horn section packs a punch to which Kelly adds electric guitar to his piano and keyboards, playing alongside electric guitarists Miles Jenson and Billy “Meech” Chase.

 

“For us to walk in happiness, love, and success, there is work to be done, which is accomplished by becoming compliant to discipline, consistency, ambitious standards, and focus on the goal at hand. Each step we take in life can take us either forward or backward. We must learn from each step and build from it. As we successfully accomplish small steps, we will develop a love for what we do. That love will generate the energy and spirit required to be victorious in life. However, for this to occur we must bring ourselves into compliance with God’s laws that will transform us from the inside out,” said Kelly providing insight.

 

Another tune tinged with fusion, “Feathers In Flight” was inspired by an unforgettable scene in the Academy Award-winning film “American Beauty,” in which a plastic bag was tossed around in the wind. Kelly explains, “The image of a plastic bag blowing in the wind shows precisely the freedom that comes from finding happiness and beauty in the simplest things, regardless of life’s difficulties. We must not get caught up in those things that damage us spiritually but focus on the things that edify our souls. That is how to overcome our difficulties. Our spirits must float and rise above the things that attempt to bring us down.”

 

Bold and daring reflecting the song’s namesake, “Amanirenas” was named after the queen regnant of the Kingdom of Kush known for invading Roman occupied Egypt and negotiating the end of the Roman retaliation. Kelly’s song is offered as a testament to all women, reflecting Queen Amanirenas’s beauty, strength, leadership, and courage.

 

The soothing and placid Africano melodies and rhythms on “I Only Want You” gives way to a mid-tune spoken word rap delivered by Robert Washington along with a vocal caress from Quiahna.

 

“The song ‘I Only Want You’ is about understanding our protection in life is rooted in a love for God. With the world in so much upheaval, unhealthy political actions, violence, and hatred we must turn to God for strength, protection, and guidance. The lyrics written by Robert Washington say it all,” said Kelly about the song spawned from Ephesians 6:10-14, “The Armor of God.”

 

Slated to be the album’s fourth single, released on April 15, “When We Are One” bobs to a hip-hop loop crafted by Kelly that runs through the song about agape love.

 

“‘When We Are One’ explores the endless opportunities when two people are totally connected by agape love for each other. After the initial infatuation period, exploration and discovery period, adaptive period, the commitment phase, we finally experience the acceptance phase, which is the deepest part of any relationship. This is also where the real blessings happen with couples that can endure and embrace this special period in life. Selfless love, characterized by a deep care for another person without any sexual implications, particularly when it is spiritual in nature, can be considered an ideal form of affection,” offered Kelly.

 

Kelly gets deeply personal on the closing composition, an intimate solo piano piece titled “Song For Charlie,” written for his late daughter.

 

“The final song on the album is about reconnecting in the spiritual world with my daughter, Sharlise, who passed away quite a few years ago. The music represents a living being going into the spiritual world to tell her how much she is loved by my wife and myself. I tell her that although there was much pain when she passed away and how the family dynamics changed with her passing, we were made stronger, and she will never be forgotten. ‘Song For Sharlise’ also represents a reconciliation rooted in the acceptance of her death. I think any parent who loses a child thinks about what they could have done differently to prevent something tragic from happening. Finally, the end of the song represents that our entire family will be united again. The synths at the end represent Sharlise going back to her spiritual home and me returning to the physical world. This song focuses on loss, love, hope, healing, reconnection, and reconciliation,” revealed Kelly.

 

Other musicians who contributed to “Phase II” are four-time GRAMMY®-winning percussionist Munyungo Jackson, drummers Tony Moore and Land Richards, and guitarist James Greene.

 

Kelly is a musician, songwriter, producer, arranger, and band leader who has collaborated with a galaxy of luminaries including Stevie Wonder, Neil Diamond, Elton John, Nile Rodgers, Sister Sledge, The Pointer Sisters, and Nathan East. He’s also flourished in the contemporary Christian space, playing with CeCe Winans, Mary Mary, Jeremy Camp, and Israel Houghton. As an actor, Kelly was in the cast of the “Fame” television series. “You’re Not Alone” launched four singles onto the charts, including the title track, "Endangered Species,” “I Know You,” and “I’m Good.” For more information, visit https://www.charlesakelly.com.

 

Kelly’s “Phase II” album contains the following songs:

 

“That Walk”

“SunSeeker”

“City Night”

“Bring It to Compliance”

“Raindrop Under Glass”

“Feathers In Flight”

“Amanirenas”

“I Only Want You”

“When We Are One”

“Song For Sharlise”      

 

Topdog/Underdog at Pasadena Playhouse: A REVIEW

By Darlene Donloe 

It doesn’t do it justice to call Suzan-Lori Parks' Pulitzer Prize-winning play, Topdog/Underdog, a masterpiece. 

While it is a masterpiece, it’s so much more. There is so much to unpack in this commanding two-act play. 

It explores the complexities of brotherly love, family identity, and the struggles of being Black in America. 

TopDog/Underdog, currently playing at the Pasadena Playhouse through March 23, is directed by the inimitable Gregg T. Daniel, who, once again, delivers a creative, effective production that is both engaging and emotional. 

Gregg T. Daniel

The play, told in a dark, dank basement apartment, tells the story of two brothers, Lincoln (Brandon Micheal Hall) and Booth (Brandon Gill), whose father gave them their names as a joke. This foreshadows a lifetime of sibling rivalry and resentment. 

The play, appropriately described as a darkly comic fable that is poetic, gripping, and unforgettable, is about how the brothers are in freefall as they struggle to find their footing as they hustle their way through life. Haunted by the past and their obsession with streets, coins, and cards, the brothers come to learn the true nature of their fate. 

(l-r) Brandon Gill and Brandon Micheal Hall

Daniel, who never wastes the chance to move a story forward, fills the stage with necessary, effectual movements from the two stars, Brandon Micheal Hall and Brandon Gill. They are mesmerizing to watch as they rhythmically deliver Parks’ forever-in-motion lines. Daniel’s give-and-take direction brings intensity when needed before yielding to more comical moments. Daniel's even flow allows Hall and Gill to freely tell the story through various means, including dialogue, their physicality, and distinct subtle, inherited idiosyncrasies. 

Brandon Gill

For instance, Booth’s anxiety-laden body is constantly moving on stage, as if he’s hyped up on something. Lincoln, the elder of the two brothers, is more laid back and controlled in his body.

It’s clear that Booth, who can’t hold down a job, is dealing with some mental issues. He wants desperately to master the slick three-card Monte his brother, Lincoln, used to command – but can’t quite get there.  Lincoln is trying to stay away from his past, while his brother, Booth, wants him to teach him everything so that he can become the king of the three-card Monte hustle. 

Brandon Micheal Hall

Lincoln has his issues. First, his gig is playing Abraham Lincoln at an arcade, which is, admittedly, “a stretch” since he is Black.  He was also dumped by his wife, who either did or didn’t sleep with his brother.  The two brothers laboring to be free in a confined space leads to disharmony between the two. Sometimes, the tension is high, sometimes not high enough given their circumstances. After all, Lincoln is crashing at Booth’s place, which is already too small for one person, let alone two. 

Through the characters' experiences, Parks delves into themes of toxic masculinity, manhood, and violence, offering a powerful commentary on the societal expectations placed on Black men. 

(l-r) Brandon Gill and Brandon Micheal Hall in Topdog/Underdog

The play's use of language is poetic and evocative, with Parks' unique voice shining through in the dialogue. 

The play has received widespread critical acclaim, with many praising its innovative storytelling, complex characters, and thought-provoking themes. 

The original production, directed by George C. Wolfe, starred Don Cheadle and Jeffrey Wright and won several awards, including the 2002 Pulitzer Prize for Drama.

In recent years, Topdog/Underdog has experienced a resurgence in popularity, with several productions and revivals, including a 2022 Broadway revival starring Corey Hawkins and Yahya Abdul-Mateen II, which won the Tony Award for Best Revival of a Play. 

The play's enduring relevance is a testament to Parks' masterful storytelling and her ability to capture the complexities of the human experience. 

The New York Times called Topdog/Underdog “The Greatest American Play of the Past 25 Years." It is a must-see play that will move, test, and stir audiences. 

Its exploration of the human condition, innovative storytelling, and powerful themes make it an authentic tour de force of the American theatre. 

Kudos to the set designer, Tesshi Nakagawa, who created a favorable, dilapidated, squalid, cramped room in a grand proscenium space for the brothers to reside. Kudos also to Angelene ‘Angie’ Storey (assistant scenic designer), Angela Balogh Calin (costume designer), Jared Sayeg (lighting designer), Jeff Gardner (sound designer), Andra Allmond (associate sound designer) with composition by DJ Tru, guitar composition and musical performance coaching by Maritri, movement consultation by Joyce Guy, intimacy and fight coordination by Sasha Nicolle Smith, and casting by RBT Casting (Ryan Bernard Tymensky, CSA).

‘Topdog/Underdog,’ written by Suzan-Lori Parks and directed by Gregg T. Daniel, stars Brandon Gill and Brandon Micheal Hall. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘Topdog/Underdog’ gets an E (excellent). 

Running time: 2 hours/20 min., 15-minute intermission. 

‘Topdog/Underdog,’ Pasadena Playhouse, 39 South El Molino Avenue, Pasadena, 8 p.m., Wednesday and Friday; 7 p.m. Thursday; 2 and 8 p.m. Saturday, and 2 p.m. Sundays; 2 and 7 p.m., Sunday, March 23; through March 23; $40, 626-356-7529, PasadenaPlayhouse.org

 

 

 

 

 

 

'44 The Musical': Filled With Political Humor

By Darlene Donloe

When President Barack Obama was in office, he had a wondrous supporting cast that included his wife, Michelle Obama, his Vice President, Joe Biden, and his Secretary of State, Hillary Clinton.

And then there were those on the periphery who wanted nothing more than to derail his presidency.

People like Mitch McConnell, Herman Cain, Sarah Palin, Lindsay Graham, and Ted Cruz.

That mixed-up menagerie is part of ’44 The Musical,’ currently playing at the Kirk Douglas Theater in Culver City through March 23.

‘44 The Musical’ is a side-splitting, hilarious, and heartwarming satire that tells the story of Obama’s White House years through Joe Biden's hazy recollection. The show immediately grabs the audience with the opening song, M.F.O. (Muthaf*ckin Obama), sung by the company. That song sets the tone for what’s to come.

What comes is a talented cast with fabulous voices, clever dialogue, and streetwise choreography.

In the show, American politics, which of late has become the sad punchline of a horrible joke, is on the chopping block for some good-natured fun.

This is a bold, unapologetic satirical romp that fearlessly tackles issues like racism, sexism, and political corruption with in-your-face humor.

T. J. Wilkins, named in the Top 12 overall as a member of Team Usher on Season 6 of NBC’s ‘The Voice,’ and R&B artist Shanice (‘I Love Your Smile’) lead the cast as Barack and Michelle Obama.  Wilkins and Shanice have incredible chemistry, which helps move the story forward. Whether they perform solo or as a duo, combining Wilkins’ and Shanice’s powerful voices results in fireworks. 

The supporting cast is exceptional, with standout performances from Summer Nicole Greer, whose soulful vocals nearly blow the roof off, Chad Doreck as Joe Biden, Larry Cedar as Mitch McConnell, and Jenna Pastuszek as Hillary Clinton.

The music is catchy and memorable, mixing pop, R&B, and rock influences. The witty and insightful lyrics offer a clever commentary on the politics of the time.

‘44 The Musical,’ which had its premiere at the Bourbon Room in Hollywood in 2022, is written, composed, and directed by Eli Bauman (NBC’s ‘Maya & Marty’), a former Obama campaign organizer.

Bauman and Monica Saunders-Weinberg produce the show, which stars T.J. Wilkins as Barack Obama, Shanice as Michelle Obama, Chad Doreck as Joe Biden with Larry Cedar as Mitch McConnell, Marquell Edward Clayton as Brother Abe Lincoln, Summer Nicole Greer as Voice of the People, Jane Papageorge as Sarah Palin, Jenna Pastuszek as Hillary Clinton, Dino Shorte as Herman Cain, Jeff Sumner as Lindsay Graham, and Michael Uribes as Ted Cruz. Celeste Butler, Ally Dixon, and Scott Kruse are understudies.

The show features legendary L.A. band House of Vibe as ‘The Andrew Jackson Five’ with Anthony ‘Brew’ Brewster as musical director and keyboards, along with Conrad Bauer (guitar), Corey Cofield (bass), Phillip ‘Fish’ Fisher (drums), Greg Raymond (keyboards). The band is so tight it’s like an additional character in the show.

Miss James Aslop handles the show’s hip-hop-infused choreography. Julio Himede and Nicola Filler designed the production, Jonathan Burke designed the sound, Conrad Bauer is the digital content producer, Jud Nester is the content producer, and Mike Emerson is the graphic designer.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ’44 The Musical’ gets an E (excellent).

’44 The Musical,’ Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, through March 23, 2025, $44, www/centertheatregroup.com