Theater Review by Carol Rocamora . . .
A great American actor brings the story of a great American musician to vibrant life.
You can hear it a block away, as far as Ninth Avenue: the glorious sound of a trumpet, piercing the midafternoon madness of midtown New York. A five-piece band stands outside Studio 54, playing its heart out before the matinee, providing you with a preview of the joy awaiting you inside the theater.
A Wonderful World, the exuberant new bio-play that tells the life story of Louis Armstrong, spans six decades of American history and elevates one of America’s greatest musicians to the status of national folk-hero.
Armstrong is played by the phenomenal James Monroe Iglehart, who greets us at the top of the show during what the program calls “The Prologue,” set in the 1970s (one year before his death). He instantly captivates us (and the essence of the character he plays) with that gravelly voice, charismatic presence, towering stature, and mile-wide smile. “Good evening, ladies and gents” he rasps, introducing the show and announcing that it will cover “the good and the bad” of his life story, which he plans to narrate. “Music and Love” will be the theme, he tells us—and oh, this show is lovable. And it’s larger-than-life, just like its protagonist and the actor who plays him.
Accompanied by an 18-member cast and 15-member ensemble, the show spans six decades of Armstrong’s life (1901-1971), condensed into four chapters, and set in the American cities where he climbed the staircase to fame. Each chapter features anywhere from six to nine sensational musical numbers, performed by the dynamic cast and dancing ensemble. These chapters also feature a new wife he acquires along the way: four in total, one per city.
In “Chapter One: New Orleans – 1910s,” we learn of his early childhood, his reputation as a “clown” in school, his fostering by a Jewish family, his acquisition of a coronet, and his marriage to Daisy Parker, a former prostitute (Dionne Figgins). Louis leaves New Orleans (and Daisy) to play on a river boat (“Up a Lazy River”), where he is harassed by whites. Memorable musical numbers also include “Black, and Blue,” highlighting the theme of racism that runs throughout the musical.
In “Chapter Two: Chicago – 1920s,” Armstrong meets King Joe Oliver (Gavin Gregory), a powerful figure in the musical community, and joins his band. (“It Don’t Mean a Thing,” “Do you Know What it Means to Miss New Orleans”). One of the members is Lil Hardin (Jennie Harney-Fleming), a talented piano player and a shrewd businesswoman. Recognizing his great talent, she awards him with a new trumpet “How much are you worth to yourself,” she challenges Armstrong, who has fallen under Oliver’s control. She persuades him to leave “Papa” Joe’s band and go out on his own with herself as his new wife and manager. Despite a sudden reappearance from Daisy (Wife Number One) and pursuit by white gangsters (who want to force Armstrong to perform in their venue), he manages to escape both by going to jail, briefly, and then leaving on tour. In Memphis, he escapes prison by performing for the police department (“I’ll Be Glad When You’re Dead”). The duet between the two wives brings the act to a dramatic close with their confrontation (“Some of These Days,” “After You’ve Gone”).
In “Chapter Three: Hollywood – 1930s,” we find Armstrong “trying to spread happiness around” in the studios. There, he encounters increased racism. He meets the tap dancer named Lincoln Perry ( a.k.a. “Stepin Fetchit), played by Dewitt Fleming, Jr., who performs a sensational, show-stopping tap number (“When You’re Smiling”). Armstrong lands a movie role playing “Uncle Tom,” to the disapproval of other blacks in the entertainment community. He acquires yet another wife, Alpha Smith (Kim Exum), a former house cleaner. When another group of white gangsters appear, trying to force him to return to Chicago to perform, he flees and eventually ends up in New York for “Chapter Four” (1940s-1970s), where he meets Lucille (Darlesia Cearcy), the first black performer at The Cotton Club, who becomes Wife Number Four (“Cheek to Cheek”). Their marriage is tested when Lucille discovers that he’s had yet another Lucille in his life who has also borne him a child. But their marriage endures, and he continues to rise to the level of international stardom. He almost loses that recognition by criticizing President Eisenhower, but makes his comeback (“Hello Dolly”) and goes on to be named an Artistic Ambassador of America throughout the world. The show concludes, appropriately, with a moving rendition of “A Wonderful World.”
As director, Christopher Renshaw helms the best musical entertainment on Broadway thus far this season—and likely beyond. (Inglehart and Christina Sajous are credited as co-directors). They’ve assembled a superb team of artistic collaborators, featuring an elaborate set by Adam Koch and Steven Royal that morphs magically and smoothly from one city and venue to another (trains, nightclubs, etc.). The musical team for supervision, arrangements, and orchestration (Daryl Waters and Branford Marsalis) is stellar, and Rickey Tripp’s marvelous choreography makes me want to go back and see the show again and again.
The company features so many standout performances. Each of the four wives offers a contrasting singing style, and all are superb. The ensemble performs a master class in tap dancing, and Dewitt Fleming’s spectacular tap solo brings the house down. The terrific orchestra under Darryl G. Ivey deserves special praise, especially Alphonso Horne and Bruce Harris as Trumpets 1 and 2.
As for the storytelling spine of the show, Aurin Squire (book) has chosen to focus on the four chapters and the four wives. As a longtime Louis Armstrong admirer, I wish there had been more artistic detail—like how Armstrong got the nickname “Satchmo,” for example; or how he learned and developed his signature “scatting” style. Notably absent is the “other woman” in Armstrong’s career—namely, Ella Fitzgerald, whose album together in 1956 with the Oscar Peterson Quartet and two later in the 1950s are now treasured classics.
But, that’s material for another musical perhaps (Ella & Louis?!). Meanwhile, the unforgettable performance of James Monroe Iglehart, with his rich, mellifluous voice, magnetism, and humanity, will remain in our theater-going memory for a long time. Thanks to Iglehart and his collaborators, we’re gifted with a portrait of a great American performer who withstood racism and rose to become a musical legend, loved and admired by all of America. A wonderful life, indeed . . . flawed, but wonderful.
A Wonderful World: The Louis Armstrong Musical. Open run at Studio 54 (254 East 54th Street, between Broadway and Eighth Avenue). www.louisarmstrongmusical.com
Photos: Jeremy Daniel
