‘A WONDERFUL WORLD’: James Monroe Iglehart as Louis Armstrong. Photo: Jeremy Daniel.

A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL
Book by Aurin Squire
Conceived by Andrew Delaplaine & Christopher Renshaw
Directed by Christopher Renshaw
Studio 54
254 West 54^th Street
https://louisarmstrongmusical.com/

By Scott Harrah

Jazz, like musical theater, is one of the few art forms that is truly “all American.”  Its roots are grounded in New Orleans, Louisiana. And its heart and soul stem from the African American experience in the American South. One of the American legends who embodies jazz at its best is the great Louis Armstrong, the jolly, gravel-voiced vocalist and cornet/trumpet player. Armstrong soared to the top of the American music charts with his signature songs, “Hello, Dolly!” (which knocked the Beatles’ “Can’t Buy Me Love” out of the number one slot in the USA on Billboard’s Hot 100 in 1964) and “A Wonderful World.” However, many of us know little about the man behind the music until now. A Wonderful World: The Louis Armstrong Story is a joyous, colorful celebration of Mr. Armstrong’s life, music, and his rags-to-riches tale.

New Orleans roots

The story begins with a prologue in the 1970s in a rehearsal room with James Monroe Iglehart (best known for his Tony Award-winning role of Genie in Disney’s Aladdin) singing “Now You Have Jazz.”

Next, the narrative steps back in time to New Orleans in the 1910s. Armstrong’s four wives at different stages of his life help tell the story, mostly through flashbacks. In New Orleans, his first wife Daisy Parker (Dionne Figgins) is a prostitute, and she joins him on duets such as “Kiss of Fire.” Aurin Squire’s book relies heavily on the perspective of the wives, and each woman talks about Armstrong’s many shortcomings: He’s a womanizer, unfaithful, drinks too much, smokes cigarettes and marijuana, but he has a big heart regardless.

Chicago in the 1920s

Armstrong’s move to Chicago in the 1920s highlights the second part of the first act. King Joe Oliver (Gavin Gregory), the man who started King Joe Oliver’s Creole Jazz Band, brings Armstrong up from New Orleans. Oliver and Armstrong sing the classic “Do You Know What It Means to Miss New Orleans?”

At the same time, Armstrong meets the woman who eventually becomes his second wife, Lil Hardin (Jennie Harding-Fleming), a brilliantly gifted jazz pianist with an elegant, no-nonsense presence and a sharp head for the business side of music. Lil and Louis Armstrong sing such classics as “Tiger Rag” and King Joe Oliver joins them on “Got a Bran’ New Suit.”

The Hollywood years

Armstrong’s journey to Hollywood in the 1930s is featured in the second act. He is now breaking into the movies and we meet his third wife, Alpha Smith (Kim Exum). He appears in such films as Ex-Flame, A Rhapsody in Black and Blue, Pennies from Heaven, and others. Alpha is the quintessential Hollywood glamour girl and she joins him on such songs as “Big Butter and Egg Man.”

Sadly, Armstrong soon learns that Hollywood is only interested in casting him in stereotypical Black roles such as singing butlers, “Uncle Toms” and “clowns.” Throughout the show, he is told that he needs a “white man” to help oversee his career, and Armstrong fears he might be considered a “sellout” by other Blacks.

To illustrate how Hollywood Blacks felt in this era, Lincoln Perry (DeWitt Fleming Jr.), a Black comedian and vaudevillian of the time who went the stage name Stepin Fetchit, tells him, “Black people here are very-very-very-VERY understanding. We’re a hustling and bustling people. Everyone’s got their angle. Me, Hattie McDaniels, Bojangles….Black folks have no problem with us.”

New York in the 1940s

As a result of getting tired of Hollywood, Armstrong moves to New York in the 1940s. Next, we meet his fourth wife and the woman with whom he had the longest marriage, Lucille Wilson (Darlesia Cearcy). Lucille is a chorus girl at the renowned Cotton Club in Harlem when she meets Armstrong. When he first asks her out, Lucille is blunt. “You can drop the mask in front of me. I want the real Louis Armstrong. The poor kid from New Orleans,” she says, referring to his many stage personas and nicknames from Satchmo and Big Dipper to Pops.

In general, Lucille helps Armstrong settle down and tames his wild ways with women. When he is offered the chance by the U.S. State Department to tour around the world representing the USA, singing his hits “Hello, Dolly!” and “A Wonderful World,” Lucille insists on accompanying him so he doesn’t mess around with other women. Toward the show’s end, Armstrong sings all his patriotic songs, including “Star Spangled Banner.” Of course—spoiler alert!—the finale features the show’s title song “A Wonderful World,” with Armstrong singing with all his wives, Daisy, Lil, Alpha and Lucille and the rest of the cast.

An epic packed with talent

Ultimately, A Wonderful World is a bona fide epic, at nearly two hours and 45 minutes, chronicling his rise from a poor New Orleans musician to one of America’s most beloved entertainers. Is it a perfect bio-musical? No. It is a long show but, despite a couple unnecessary songs, A Wonderful World is never dull and is consistently entertaining. Book writer Aurin Squire broaches the topic of racial inequality in America, especially in 1930s Hollywood, in a manner that is still relevant today without being heavy-handed.

Besides hearing all the outstanding Louis Armstrong classics—orchestrated and arranged by jazz legend Branford Marsalis—other aspects make A Wonderful World a Broadway gem.

Outstanding performances & choreography

First, the superb choreography and musical staging by Rickey Tripp. Decked out in lavish period costumes by Toni-Leslie James, it is a rare treat getting to see old-school dance numbers (including tap dancing) that remind one of Broadway’s golden age, back in the days when musicals were spectacular instead of sparse. In general, the gifted cast and stellar performances and vocals are the show’s biggest assets. First and foremost, James Monroe Igehart is phenomenal as Louis Armstrong. He has the raspy voice, mellifluous vocals and happy-go-lucky attitude that catapulted Armstrong to superstardom. Director Christopher Renshaw has done a remarkable job helping Mr. Iglehart deliver a nonstop, steadily brilliant portrayal of Louis Armstrong as a flawed but good-natured, multi-talented man. What’s more, Gavin Gregory is magnificent as King Joe Oliver, Armstrong’s teacher and mentor.

In addition, the performances by the actresses playing his wives are equally exceptional. Dionne Figgins as Daisy, Jennie Harney-Fleming as Lil, Kim Exum as Alpha and Darlesia Cearcy as Lucille are all top-notch in their performances, and each has a powerful singing voice. Ms. Cearcy is especially dynamic on the solo ballad “That’s My Home,” and her lush, commanding vibrato brings down the proverbial house.

A must-see

In conclusion, A Wonderful World has all the ingredients for a splendid night of musical theater, making it a must-see on Broadway this fall.

Published November 11, 2024
Reviewed at November 10, 2024 press preview

‘A WONDERFUL WORLD’: (left to right) Dionne Figgins, Jennie Harney-Fleming, James Monroe Iglehart, Kim Exum & Darlesia Cearcy. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & cast. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & Gavin Gregory. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: James Monroe Iglehart & (left to right) Jodeci Milhouse, Alysha Morgan & Kate Louissaint. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: DeWitt Fleming Jr. & cast. Photo: Jeremy Daniel.

‘A WONDERFUL WORLD’: Darlesia Cearcy & James Monroe Iglehart. Photo: Jeremy Daniel.

YouTube video of A Wonderful World: The Louis Armstrong Musical

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‘CAMELOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

MONTY PYTHON’S SPAMALOT
Music by John Du Prez and Eric Idle
Book & lyrics by Eric Idle
Direction & choreography by Josh Rhodes
St. James Theatre
246 West 44th Street
(212-239-6200), SpamalotTheMusical.com/

By David NouNou

You might think that a musical that opened in 2005 and closed in 2009 might be too early to have a revival. In most cases, I would agree with you. However, in the case of Spamalot,  it couldn’t have come fast enough. In these troubled times where laughter comes so sporadically, it is good to be able to laugh out loud and unabashedly.

To most readers, you may have seen the original Spamalot; not to worry as there has been so much schtick and one-liners added in so many scenes, you forget and ask yourself was this in the original version? That is part of the fun of watching Spamalot amidst all the mayhem and wondering, “Was this in or not? I don’t remember it.”

King Arthur (James Monroe Iglehart) is traveling with his steadfast servant Patsy (Christopher Fitzgerald) across the European countries in 923 A.D. to round out knights to form his Round Table in Camelot. Along the way he encounters Sir Robin (Michael Urie); he will be needed for his specialty, singing and dancing. They then encounter the brutish but handsome Sir Lancelot (Taran Killam) for his fighting ability. They are met by Dennis Galahad (Nik Walker) but he is not convinced that Arthur is really a king. So, Arthur summons The Lady of the Lake (Leslie Rodriguez Kritzer) to vouch for his authenticity and with the help of her “Laker Girls” turns Dennis into Sir Galahad, joined later with Sir Bedevere (Jimmy Smagula). These merry band of men have been assigned the task by God himself to find the Holy Grail.

And so, the fun begins. You’ll witness every sort of chicanery and slapstick sight gags that the mind can conceive. In addition, with the exception of King Arthur and The Lady of the Lake, everyone on the St. James Theatre stage plays multiple roles and part of the fun is guessing who is playing whom at any particular moment.

The most hysterical scene and number comes in the second act where in order to move to the next part of the quest for the Holy Grail, Sir Robin has to create a show for Broadway. In order to do that he needs Jews for the show, because every show has to have Jews in them for it to succeed. In the song “You Won’t Succeed on Broadway,” he demonstrates by having a chorus of men doing a takeoff on Fiddler on the Roof by having the chorus do the incredible bottle dance and a huge Star of David descends onto the stage. A showstopper if ever there was one. More craziness ensues but it must be seen to be fully appreciated.

What’s really impressive is the energy the cast imbues into the show. From start to finish, the zaniness never stops. The performances are all first rate: Michael Urie as Sir Robin has never been better; it’s great seeing him stretching his talent to higher standards. Taran Killam in multiple roles is terrific as Sir Lancelot, a taunting Frenchman, a Knight of Ni. Charles Fitzgerald is masterful as always as King Arthur’s Patsy. Ethan Slater is a treasure in no less than nine different roles.

Of course, there is also the sublime Leslie Rodriguez Kritzer as Lady of the Lake. She’s great in the first act and nearly steals the second in “Diva’s Lament” this comes because she has been left out of two thirds of the second act.

The only misfire of the evening is the incomparable James Monroe Iglehart. He seems to be stifled by the entire King Arthur persona and can’t cut loose as when he was the Grand Genie in Aladdin. A minor miscalculation.

Scenic and production designer Paul Tate DePOO III has created colorful and whimsical sets. Josh Rhodes’ direction/choreography is not as concise as Mike Nichols’ direction and Christopher Nicholaw’s choreography. Mr. Rhodes has given the cast free rein to ad-lib.

Spamalot comes at a perfect time, just before the holidays. Get tickets soon and make the holidays even more festive and enjoyable. You’ll be beaming for the rest of the night.

Edited by Scott Harrah
Published November 22, 2023
Reviewed at November 21, 2023 press performance.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Nik Walker & Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’ (Left to right): Michael Urie, Nik Walker, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula & Taran Killam. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

Christopher Fitzgerald & James Monroe Iglehart. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: (Left to right) Michael Fatica, Taran Killam, Drew Reddington & Ethan Slater. Photo: Matthew Murphy & Evan Zimmerman.

The post ‘Spamalot’ revival a tonic for troubled times appeared first on StageZine.

ARABIAN NIGHTS: Disney’s ‘Aladdin’ comes to Broadway. Photo: Deen Van Meer.

ALADDIN

Book & additional lyrics by Chad Beguelin 

Music by Alan Menken
Lyrics by Howard Ashman & Tim Rice
Based on the Disney film
Directed & choreographed by Casey Nicholaw
New Amsterdam Theatre

214 West 42nd Street, 
(866-870-2717), aladdinthemusical.com

By David NouNou

Theatergoers, be ready to welcome the next decade-long-running musical with open arms. If you have been hungry for spectacle and glitter, you have a feast in Aladdin. If you are tired of the labored, vacuous, threadbare and uninspired musicals, bring the whole family for a joyous magical carpet ride. For no one knows how to entertain and perform magic on stage like the Disney folks; and they are displaying a veritable smorgasbord for the senses.

Is it all perfect in Ali Babaland? No. The book at times is trite and some of the lines are hackneyed. The leads, Adam Jacobs (Aladdin) and Jasmine (Courtney Reed) are not awe- inspiring, but they don’t have to be; they just have to look good in their parts and be serviceable. The supporting players’ “friends” are at times hammy and should be reined in. Despite minor missteps there is a Merman/Channing diva amidst all this. We already have Mama Rose and Dolly; we can now add Genie to the roster. James Monroe Iglehart deliciously embodies him. He has the force and drive of Ethel and the zaniness and heart of Carol. What more do you need?

There is an additional plus, Jonathan Freeman (Jafar). He portrayed the voice in the 1992 animated feature of the same name. He is now in the flesh and good enough to induce hisses at curtain call. By the way, that is meant as a compliment, he is delightfully evil. Most everyone has seen “Aladdin” the movie and knows the storyline, why belabor the point? Suffice it to say it is equally enjoyable on the stage. It may not be as revolutionary as The Lion King, but is certainly as delectable as Beauty and The Beast.

The costumes by Gregg Barnes are a fashion parade unto themselves. The sets by Bob Crowley have a similarity to his Disney’s Aida and Natasha Katz’ lighting is always properly mood evoking. Casey Nicholaw, director/choreographer of such hits as The Book of Mormon and The Drowsy Chaperone, still has plenty of magic up his sleeves, but I do wish he could have put a tighter leash on some of the supporting players. In this case it’s more of a directorial issue because his choreography is still a joy to behold.

This is a show to be enjoyed as a spectacle and as a magical ride just for the sheer fun of it. When you go to Disneyland, you don’t go to nitpick some of the shortcomings of a ride. You ride them with an abandonment of a child in the body of an adult.

WISH GRANTED: Adams Jacobs as Aladdin. Photo: Deen Van Meer

CAVE OF WONDERS: Adam Jacobs as Aladdin. Photo: Deen Van Meer.

‘ALADDIN’ DUO: Courtney Reed & Adam Jacobs. Photo: Deen Van Meer

MORE SCENES FROM ‘ALADDIN’: Courtney Reed & Brandt Martinez. Photo: Cylla von Tiedemann

WHOLE NEW WORLD: Adam Jacobs as Aladdin. Photo: Cylla von Tiedemann

Edited by Scott Harrah
Published March 26, 2014
Reviewed at press performance on March 25, 2014

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