Given the complexity and lengthy career of Louis Armstrong, capturing the life of one of the most influential musical figures of the 20th century in a single show is a large challenge. A Wonderful World: The Louis Armstrong Musical, being presented at New York City’s Studio 54, succeeds more as a theater musical than it does in capturing the jazz essence of Armstrong.
Aurin Squire’s book touches upon the essential elements in Armstrong’s life but, given the amount of biographical territory that is covered, it is a sketchy portrait of his subject. While the book does touch on many of the social issues surrounding Armstrong’s life, especially as relates to the racism that affected him in many ways, it fails to capture the singular significance of Armstrong’s contributions to the evolution of jazz as an artform, as an instrumentalist and as a vocalist. It also misses the groundbreaking acceptance that he received as a Black artist who in many ways broke through the color barrier to become one of the most beloved entertainers in America. Similarly, it does not capture the reality that he became an effective cultural ambassador for his country despite the roadblocks that he faced due to his race.
The show is divided into four sections over two acts, each centering around his four marriages which roughly follow his career from New Orleans to Chicago to Los Angeles to New York, a simplification of his actual career path. As the story progresses, the musical score includes 29 songs associated with Armstrong.
James Monroe Iglehart does a fine job of capturing Armstrong’s voice, but the portrait does not capture the sparkling charisma that was a major element in his popularity. His four wives, Daisy Parker, Lil Hardin, Alpha Smith and Lucille Wilson, are nicely portrayed by Dionne Figgins, Jennie Harney-Fleming, Kim Exum, and Darlesia Cearcy. The Hardin and Wilson characters were the most influential of Armstrong’s wives, and they are more well developed than those of Parker and Smith. Each of the ladies has a fine voice, but none of them have much of a jazz feeling. The other major characters are King Joe Oliver, played by Gavin Gregory and Joe Glaser, Armstrong’s manager from the mid-1930s through the late 1960s, played by Jimmy Smagula, both of whom are workmanlike.
From a production perspective, the choreography by Ricky Tripp, the costumes by Toni-Leslie James, and the sets by Adan Koch and Steven Royal are eye-catching.
For those familiar with Armstrong’s life, it will be easier to follow the flow of the story, but it will also be a distraction as there are holes here and there. For those who are attracted to Armstrong because of his jazz essence, this production will probably be a disappointment. However, for those who are there to enjoy a Broadway musical type experience, there is much to appreciate. -JOE LANG
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