I wrote a whole post about it last night and then edited it down to that because it read like I had an ax to grind with it. I truly don't.
The writing doesn't even justify one act and "half-baked" for its third or fourth or fifth run (it's played, Philly, LA, Chicago, LA again, who knows) is still generous for the condition of the writing. The first time the cast sings "Mother Fu**in' Obama" it's thrilling and interesting. The cast in LA was truly extraordinary. But nearly three hours later, still being bludgeoned with that phrase over and over and over because the author has nothing to actually say, I was ready to go.
It's not satire. It has no POV. It's just a run of musicalized events across the Obama era. They're not unfunny, but the humor is situational to the show, not a commentary on the Obama years.
It wore very thin, very fast, but I'm extremely glad I saw the cast. I look forward to seeing those performers in things in the future.
There's an odd racial component here too: in his introduction of the show, the white author tried to present himself as culturally black in an acknowledgement of the show's (black) co-composer and music director. I still don't understand why he introduced the show the night I saw it, but the more he talked about the co-composer/MD, the more it seemed like "composing" the show was the "author" coming up with an idea for a song and the MD doing all the heavy lifting and turning a couple of lyric ideas into a full music number. I guess that's why Hollywood thinks writing a musical is? His introduction seemed to make much of the audience uncomfortable (I was just mostly confused), but the opening soloist got everyone back for a while.
I drove home in silence, more than three hours after first sitting in my seat.