HELLO, SATCHMO!
THANK GOODNESS LOUIS IS BACK IN TOWN;
WE NEED HIM MORE THAN EVER
There’s a new jukebox musical in town. But don’t run in the other direction. A Wonderful World, which opened at Studio 54 tonight, November 11, is the bio-musical of Louis Armstrong, aka the Ambassador of Blues, the King of Jazz, Reverend Dipper Mouth, Duke Satchmo, and Pops. This rags to riches story of the legendary vocalist and trumpeter offers stunning jazz arrangements, toe-tapping music, exuberant infectious dancing, dazzling designs, and extraordinary performances, especially James Monroe Iglehart, who magically recreates the joy of Armstrong for the most of us who never got to see him live. It’s a curative tonic that, after this past week especially, proves we need him more than ever.
James Monroe Iglehart
Gavin Gregory (in back) and Ensemble
Conceived by Andrew Delaplaine and Christopher Renshaw, the outstanding book by Aurin Squire starts and ends in 1970, the last year of Armstrong’s life. The epic journey of this beloved one-of-a-kind true American original artist jumps from the 1910s in Armstrong’s hometown of New Orleans and follows his five decades of work, ending in New York with his early death at 70. Fortunately for the book, there’s a surplus of conflict and drama with each new decade. Or rather, with each new wife.
James Monroe Iglehart and Kim Exum
Dionne Figgins plays wife #1, Daisy Parker, and when she pulls a switchblade and threatens to gut you, there’s no doubt she could do it. Jennie Harney-Fleming plays wife #2, Lil Hardin, who recognizes Armstrong’s talent, knowing he will soon be the next big influence in jazz. As his self-proclaimed manager, she’s a force of nature, pushing him to a road of success (as his wife, she’s not so successful). Kim Exum is wife #3, Alpha Smith, the pretty, non-interfering wife Armstrong wanted (that is, until she gets tired of all the touring and runs off with his drummer). Darlesia Cearcy is the fourth wife, Lucille Wilson, who understands showbiz, having created the persona of Brown Sugar, a featured performer at the Cotton Club. Remaining his spouse until his death, her charm, discipline, and devotion prove to be the perfect match. All four women are prominent stars in his life, remaining in his head throughout the years. Here, too, each possesses star-powered vocals.
Jennie Harney-Fleming and James Monroe Iglehart
Dionne Figgins and Jennie Harney-Fleming
Darlesia Cearcy and James Monroe Iglehart
In a fast-paced 2 hours and 35 minutes, the conflict and drama far exceed his wives. The disgusting, white-inflicted racism is established early on with Armstrong’s first out-of-town job performing on a steamboat where he witnesses white fans turn in a drunken moment to lynching an innocent band member. Despite being a feel-good musical, there is an ever-present dark undertone that follows Armstrong throughout his life. In Chicago, there are gangsters who make demands of him with a gun poked in-between his ribs. In Hollywood, there are studio types filled with compliments on set, but who laugh at him off set and won’t be seen with him in public. There’s also much drama from American politics, the condemnation from black fans, and a banned period when no one will hire him because of an interview that goes awry.
James Monroe Iglehart and Company
James Monroe Iglehart
Louis Armstrong always said he wanted to bring joy to people’s lives. He’s described as someone who becomes everyone’s best friend while improvising a masterpiece. The same could be said for James Monroe Iglehart who plays Armstrong (James T. Lane covers on Wed. evenings and Thursday matinees). He’s already won a Tony for the Genie in Disney’s Aladdin, but with this performance, there may be a second one heading his way. Mr. Iglehart, growling with gravelly gravitas and scrumptiously scatting, makes you smile from his first to last moments. Later, when Lincoln Perry (Dewitt Fleming Jr.), the character actor who created Stepin Fetchit, schools Armstrong on how to create his own brand, Armstrong chooses to smile — an intoxicating smile he hopes will be contagious to his fans. As they perform the winning song, “When You’re Smiling,” you do indeed smile.
James Monroe Iglehart and DeWitt Fleming, Jr.
Armstrong describes the kind of musicians he wants to hire for his band. “We gotta make sure they got that fire. I don’t need them to play the notes hard or loud. I need passion.” And he gets just that from trumpeter Gavin Gregory, who plays a tight “Tight Like That” as Joe “King” Oliver, one of the New Orleans trumpet and cornet players who took the instrument to a whole new level, including the use of mutes. With Music Director Darryl G. Ivey conducting from the keys, the smokin’ live band onstage kicks it with an enthralling, energetic sound. It doesn’t hurt that the orchestrations are by the masterful Branford Marsalis, with Daryl Waters offering additional orchestrations and vocal and incidental music arrangements. The players are so ridiculously soul-sational that they deserve mention: Marco Paguia (keys and associate conductor), Mark Gross (woodwinds); Alphonso Horne (trumpet 1); Bruce Harris (trumpet 2); Jeffery Miller (trombone) Ayodele Maakheru (Guitar/Banjo); Caylen Bryant (bass); and Ulysses Owens Jr. (drums). From down-and-dirty blues to Dixieland to swing, these cats rock.
James Monroe Iglehart
James Monroe Iglehart and Gavin Gregory
The hot dance music arrangements by Zane Mark add to the joy and smiles as eight ensemble members, featured throughout, make up the primary dance corp (the cast is 26 performers strong). Being a showbiz tale, there are numerous opportunities for them to shine and impress with significant jazzy razzmatazz razzle-dazzle. Rickey Tripp’s electric choreography and musical staging, including actor Dewitt Fleming Jr.’s spirited yet haunting tap choreography, are the reasons we love Broadway.
James Monroe Iglehart, Jodeci Milhouse, Alysha Morgan, and Kate Louissaint
James Monroe Iglehart, Gavin Gregory as King Joe Oliver and Company
Each song featured in the jukebox musical is a classic hit: “Basin Street Blues,” “Black and Blue,” “A Kiss to Build a Dream On, “Dinah,” “Some of These Days,” “Oh, When the Saints,” “Cheek to Cheek,” and many more, ending with two notable hits, “Hello Dolly!” and “What a Wonderful World.”
James Monroe Iglehart (in back), DeWitt Fleming, Jr., and the Dance Ensemble
James Monroe Iglehart and Company
The scenic and video designs by Adam Koch and Steven Royal are imaginative and inventive; the sides of the stage and proscenium are gorgeously stacked with touring trunks and luggage. The costumes by Toni-Leslie James and wigs and hair by Matthew Armentrout expertly capture a wide array of American styles, especially impressive as they bring strong memories and feelings to mind of the show’s many decades.
Darlesia Cearcy and Company
James Monroe Iglehart
After witnessing all that Armstrong has endured and survived, the show’s title song evokes a much more meaningful sensation. As Armstrong says, “Some cats ask me why I choose to think that the world is good? How about all the pain and injustice? That ain’t good. But it’s not the world that’s good or bad, it’s how you live through it. And if we just had love: that’s the secret. Music and love.” In the end, Studio 54 is filled with unforgettable music, love, and a good life well spent. You’ll leave the theater acknowledging that this is, indeed, a wonderful world.
Dionne Figgins, Jennie Harney-Fleming, James Monroe Iglehart, Kim Exum, and Darlesia Cearcy
James Monroe Iglehart
photos by Jeremy Daniel
A Wonderful World: The Louis Armstrong Musical
in association with Roundabout Theatre Company
Broadway’s Studio 54, 254 West 54th St
open run
for tickets, call 833.274.8497 or visit Louis Armstrong Musical
James Monroe Iglehart