A Wonderful Word: The Louis Armstrong Musical – 08 November 2024

A Wonderful World told a story of life on the road in which each successive city that Louis Armstrong (James Monroe Iglehart) visited held the same series of events. There wasn’t much character growth for Louis because each fresh start served to create a truly blank slate in which Mr. Armstrong, who is held in high regard for his profound nature, didn’t give himself the opportunity to learn and grow from his past because he wanted to leave it behind him. Rather, the world changed around him. The design team took us on a journey that was stunning. Aided by incredible choreography, impressive musicianship, and outstanding ensemble work, the story flowed from place to place as Louis discovered more and more places where, when he wasn’t playing his horn, he didn’t fit in. Clever direction (James Monroe Iglehart/Christina Sajous) choices let the audience see that, even though culture is different in different places, people are fundamentally, seeking the same things – love, money, and power – but calling it, “happiness.”

Portrayed is a jolly man who wanted to give the world happiness, in this portrayal, Louis Armstrong didn’t seem to have much happiness himself. He was ridiculed and taken advantage of, and he knew it. In addition to a wonderful world, he saw Black people murdered, Black children attacked for trying to go to school, and Black musicians coerced into performing for white men under duress from the mafia. The only way he could deal was to keep moving and keep seeing the beauty of the next place for as long as he could remain enamored before the familiar disenchantment set in with each new wife, each new life.

Each world was beautiful, and the scenic (Adam Koch/Steven Royal), lighting (Cory Pattak), and costuming (Toni-Leslie James) supported a distinct feeling for each city. Yet the one unchanging scenic element was the suitcases and road cases that surrounded the stage, a persistent reminder that each new reality was not built to last. In each place, the ensemble, (and each successive wife) seemed genuinely happy. The choreography, spanning Lindy Hop to tap, highlighted how many different ways there are to be happy. Yet, in this production, Louis Armstrong didn’t find happiness in any city, or in himself. Towards the end, there was a beautiful moment with a muted trumpet in the orchestra as Louis Armstrong’s life was drawing to a clothes. A moving choice as an orchestration, this moment confirmed that wanting to give others happiness and smiling, doesn’t always equate to appreciating a wonderful world, even if one can see it.

Despite the inherent thematic darkness, the experience of watching the show is absolutely delightful. Visually and musically brilliant (though vocal technique is still finding its way), the jazz and joy were infectious, keeping the audience entertained and engaged the whole way through. If I could make just one change to the show, I’d cut the audience involvement in both acts. Neither worked well. Both were awkward and unnecessary, and interrupted the flow of an otherwise wonderful show. Overall, A Wonderful World was a miraculous production full of genuine smiles for audience and cast alike; despite brief moments of darkness, the show filled our hearts with light and spirit.

I attended this performance on a press pass from The Press Room.