By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
(NEW ORLEANS) – A Wonderful World, sub-titled “A New Musical About the life and Loves of Louis Armstrong,” made its bow in New Orleans during the first week in October at the historic Saenger Theater. Situated along famous Basin Street and Canal Street – two famous thoroughfares glorified in jazz-blues tribute songs – the Saenger was an appropriate birthplace to launch the national pre-Broadway tour.
Starring Tony Award-winning actor James Monroe Iglehart (Aladdin), A Wonderful World incorporates a book by Aurin Squire and well-established jazz classics to tell the story of one of the most successful innovators of early jazz who, despite an impoverished upbringing and a hedonistic lifestyle, went on to become a national treasure and the global “Ambassador” of jazz.
Iglehart stepped into the role with confidence. He became the standard bearer for the man affectionately known as “Satchmo” (shortened from “Satchelmouth”) during the early days of the COVID pandemic, when he was introduced to Ken Burns’ PBS documentary “Jazz.”
Born three years after Armstrong’s death, Iglehart was unaware of the place in music history the young New Orleans waif and later established star and Queens, New York resident had achieved with his exciting horn blowing, solo improvisation and singing style. Once he learned of the nature of Armstrong’s importance and stature, Iglehart began researching him and reading about him. His interest sufficiently piqued, he went searching for appropriate vehicles that would allow him as a musical theatre star to portray the jazz giant. He soon learned about this project that was already being produced.
A Wonderful World enjoyed its world premiere at Miami New Drama’s Concord Theater during the early days of the COVID pandemic in 2020, but was forced to shut down. It attempted a return in December of 2021, but was paused again for a week due to COVID before restarting at the end of the month and finishing its run.
After meeting with director Christopher Renshaw (The King and I), Iglehart became attached to the show and the producers warmly welcomed him to take over the leading role. More recently, they added Vanessa Williams to the fold as a member of their producing team.
Iglehart adeptly occupies the character of Armstrong, evoking the happy-go-lucky and beloved figure with his iconic, trademarked smile and easy manner. It is clear he has studied the jazz great’s mannerisms, holding his trumpet and handkerchief with the ease and authority of a veteran player.
But there is more to Iglehart’s performance than mere mimicking the jazz master’s distinctive trumpet playing and singing style. As a truly worthy and established actor, he assumes the persona of Louis Armstrong with impeccable charm. There’s almost a twinkle one can determine in his eye as all the other characters revolve about him.
The main four characters reflected in the subtitle are Armstrong’s four wives: Daisy Parker (Khalifa White), Lil Hardin (Jennie Harney-Fleming), Alpha Smith (Brennyn Lark) and Lucille Wilson (Ta’Rea Campbell).
Every one of the lead actresses possesses a remarkable singing voice and each has an opportunity to shine in a specific section of the two-act work, concentrating on their close and sometimes contentious relationships with their husband. Most of the wives have enjoyed a rich musical theatre career, honing their craft in national tours of shows like Hamilton, The Lion King and The Color Purple or on Broadway in critically well-received shows such as Six and Caroline, or Change.
There are times when the individual singers express loss or difficulties in their marriage with classic blues-tinged pieces like “After You’ve Gone.” Iglehart responds with renditions of “I Can’t Give You Anything, but Love” and “Do You Know What It Means (To Miss New Orleans).”
Lark’s rendition of “Big Butter and Egg Man” expresses her hope for a successful marriage with Armstrong that is later reprised at her acceptance of their pairing having failed. Interestingly, the song was made famous by Armstrong and His Hot Fives, a group composed with his second wife Lil Hardin in the mid-1920, the only one of the wives who was a musician.
Although the book doesn’t go into much of their troubled relationship, Hardin claimed to have taken credit for creating the jazz personage, cleaning up his image and encouraging him to leave band leader King Oliver’s Creole Jazz Band as a featured performer and go out on his own.
Ta’Rea Campbell’s solo of “Black and Blue” in the second act helps to establish her as the wife who enabled Armstrong to succeed later in life, arranging to create a home for him in Queens, despite his infidelities with other women.
There are also times when the four wives are seen on stage performing together as an impromptu jazz version of a Greek chorus. Songs like “Basin Street Blues” in Act One and “St. James Infirmary” near the close of Act Two are wonderful examples of this specific kind of device.
The choreography and musical staging by Rickey Tripp is absolute perfection coupled with several well-known and popular numbers like Duke Ellington’s “It Don’t Mean a Thing (If It Ain’t Got That Swing), Cole Porter’s “Makin’ Whoopee, ” Gus Kahn’s “Yes, Sir, That’s My Baby” and another song made famous by Armstrong and The Hot Five’s, “The Heebie Jeebies” (attributed to Boyd Atkins). While the songs may in fact be anachronistic as to the time when they are represented, the advancement of the plot in telling Armstrong’s life story is, nevertheless, served well by them.
One specialty tap number designed and performed by Dewitt Fleming, Jr., delighted the audience. Fleming performed in his role as Stepin Fetchit (real name Lincoln Perry) as he taught Iglehart as Armstrong that he needed to establish a presence on the screen as he tried to navigate through the morass of Hollywood.
Other supporting performers included Matt Wolpe as Armstrong’s manager Joe Glaser and in a smaller role as Mr. Karnofsky, the New Orleans retailer and pawn shop owner who took the young Armstrong under his wing. The script did have some inaccuracies presented there including having Karnofsky wearing the black hat and heavy beard of a haredi Jew.
Gavin Gregory was notable in his role as King Joe Oliver and Matthew Greenwood turned in a good performance playing Armstrong’s earlier manager Johnny Collins; Greenwood also was the assistant director for the production.
A Wonderful World played the Saenger Theater in New Orleans from October 1 – 8. Like the path Armstrong chose to follow in his musical career, the show moves from New Orleans to Chicago, where it is slated to be in residence for several weeks prior to pausing for a proposed Broadway run in New York City in late 2024.
