Political satire is in a strange place. How could it possibly compete when reality is stranger than fiction? The genius of the farce POTUS, playing at The Long Beach Playhouse, is that it manages to feel contemporary without relying on the headlines. While certain references benefit from a real-world context, this story is better appreciated as slapstick in the vein of Noises Off, where the central cast (played entirely by women) is attempting to keep the titular protagonist from tearing the world apart as things spiral into further chaos. Only this isn’t a story full of decorum. It’s of a raw nerve that’s only become more agitated over the years. As a result, even the dumbest of jokes are sure to produce laughter.
This is a story that never has a resting heartbeat. Along with moments reminiscent of Benny Hill antics, someone is already trying to walk back a controversy regarding POTUS’ profane statement about his wife. The absurdity may seem quaint in the modern day, but the c-word epithet comes to symbolize the power of language and how it can debilitate reason. In a cast that includes press agents, drug-toting relatives, and both sides of a marital affair, the show cleverly shows how the people who shape America must work together to make this narrative come together. The only issue is, of course, that POTUS holds a different meaning for all of them, and to sacrifice one’s position would be to lose public reputation.
At first blush, the script is a bit too erratic. Many introductions bring the show’s mix of vulgar and lowbrow humor in ways that initially shock without deeper purpose. Given that these moments also feel disjointed in transition, it takes a while to find a groove. This isn’t to say that it fails at tone or messaging, but mileage may vary on how quickly things start to work. Credit must be given to the cast whose scenery-chewing-level antics allow the slide into morbidity to still feel breezy. It’s a show that develops contemplative points on what it takes to run a democracy without grandstanding. Even when it wants to feel important, it does so cribbed inside the laughter, allowing the poignancy to become one with absurdity.
This is a show that doesn’t take sides in contemporary culture wars. While it is ultimately a pro-feminist bent down to playing Kesha’s “Woman” during the curtain call, it’s done without hesitation. POTUS desires a shameless dive into clashing egos, finding the comedic limits of what it means to work in The White House. By the end, the audience comes to sympathize with initially tragic figures by understanding their deeper plight. The fact that it’s buried inside some of the most brazen comedy disguised as political farce makes it more novel. Despite never name-checking any living president, it feels indebted to this time and questions how futile arguing with one another winds up being.
POTUS is not the great American satire for this generation. It stumbles at points and maybe leans too much into broad (no pun intended) humor. It’s also not trying to be a comment on one pressing topic, which, for better or worse, helps it escape limited appeal. Those who approach the show first and foremost as farce will have a better time. The jokes are fast and loose, constantly surprising the audience with unexpected jabs. Add in a cast that looks like they’re having the time of their lives, and it more than confirms why this show works. If deftly handled, the crumbling building blocks will be a sight to behold. Thankfully, for those involved with this production, it’s well worth an evening at the theater.
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