Beau Mayer
Paul Milisch and Ben Ruyle in "Who's Your Baghdaddy?"
Paul Milisch, left, and Ben Ruyle in "Who's Your Baghdaddy?"
Music Theatre of Madison, known for producing new and rare musicals, has a fast-paced and funny show with its production of Who's Your Baghdaddy, or How I Started the Iraq War.
Performances resume this weekend, Aug. 25-26, 7:30 p.m, in the UW Memorial Union Play Circle.
First produced in 2015, Who's Your Baghdaddy, or How I Started the Iraq War, is a satirical, semi-facetious musical that questions its titular premise: Who indeed started the Iraq conflict? The production boasts an eclectic mix of catchy tunes by composer and co-author Marshall Pailet, interwoven with a rich tapestry of historical insights, gallows humor, and multi-dimensional characters by lyricist and co-writer A.D. Penedo. The investigation delves into the dire consequences that arise when occupational aspirations and blunders spiral out of control. The beginnings of the 2003 invasion of Iraq by the United States are cleverly reimagined as a tale of administrative mishaps and espionage endeavors that have disastrously backfired.
The first act starts at an interactive AA-style meeting for those who believe they started the Iraq War, with actors going into the audience to offer them everything from lukewarm coffee and donuts to inspirational quotes. Cat Richmond (Ensemble Woman) delivered this quote to me at the Aug. 19 performance: "You have to get through the rain if you're ever going to see a rainbow." It's a quote so syrupy that you aren't sure whether to gently box Richmond's ears or give her a hug. Throughout the play, Richmond steals scenes in the most positive way, with her pitch-perfect singing and exceptional acting. Richmond plays more than 10 characters, from a Marianne Williamson-style affirmer to an inspired holy roller. She sings "The Second in Command" with religious conviction.
The narrative reminds us of the trappings of the early 2000s, replete with AOL dial-up, flip phones, and dancing to match the era thanks to the entertaining choreography of Marin Johnson. Early in the first act we quickly meet Richart Becker (Kevin James Sievert). Sievert, undoubtedly a star of this ensemble show, masterfully settles the cast into place. He moves with ease, and his singing is on point.
Throughout the production, deft stage direction by MTM's founder and executive director, Meghan Randolph, guides the cast with finesse, from grand, sardonic effects to subtle nuances. With a cast member out with COVID, Randolph performed the role of Jerry on Saturday night. Her singing is captivating, and her acting is strong.
Matching Richmond's multifaceted character count is Ben Ruyle as Ensemble Man. Ruyle's humorous characterizations adeptly keep pace with the first act's whirlwind tempo. Kate Jajewski, portraying Berry, exudes a fitting abrasiveness with her second-act query, "Do you feel like this has gotten less funny?" introducing the somber undertones of the post-9/11 era. Adam Qutaishat's portrayal of Curveball — a foreign figure allegedly linked to the weapons of mass destruction — finds its footing toward the end of the show, which culminates in the poignant, soft and beautiful singing of "Speak to Me Tomorrow."
My only quibbles? The show's opening chorus starts a bit rocky, with the chorus of leads not always finding the center of their pitch. Equally, several solos do not meet expectations, though a lot of vocal issues from early on settle in by the second act. At any rate, these are relatively minor bumps in an otherwise enjoyable performance.
