***** Electricity filled the Cadillac Palace Theatre as I watched “A Wonderful World: A New Musical about the Life and Loves of Louis Armstrong.” One of the world’s most iconic figures in jazz music, Armstrong distinguished himself as an all-around entertainer who mesmerized audiences with the power of his music and his personality. In this glorious Broadway In Chicago production, James Monroe Iglehart channels Armstrong to a “T”—and the “T” doesn’t just stand for trumpet playing! Iglehart has cultivated the man’s gravelly and distinctive bass-baritone voice, broad smile, and musical proficiency. His biography is told largely through the eyes of his four wives: Daisy Parker (Khalifa White), Lil Hardin (Jennie Harney-Fleming), Alpha Smith Brennyn Lark), and Lucille Wilson (Ta’Rea Campbell), the last of whom he was married to for 28 years. While the singing voices of all four women are outstanding and could not be any better, it is Iglehart as Armstrong who holds the show together with his bang-up performances on his golden trumpet. During the presentation, we see him journey from New Orleans to Chicago to Hollywood and finally to New York in a career that spanned from the 1920s to the 1970s. Written by Aurin Squire, directed by Christopher Renshaw, and conceived by Renshaw and Andrew Delaplaine, this spectacular musical production is nothing short of a masterwork!

The story begins with Armstrong’s roots and the music scene in New Orleans. We come to understand how and when he learned to play the trumpet as well as develop his distinctive voice, presumably from having once had a very bad cold. We see how his unique musical versality plus his fusion of dixieland, ragtime, jazz, and swing made Armstrong became one-of-a-kind, and his career only got bigger and bigger over the years—especially once the color line was breached and record labels and radio stations promoted blacks as well as whites in popular music. Armstrong was not the first or the last of the talented black singers and musicians who migrated from New Orleans to Chicago in the 1920s as Bronzeville became the jazz mecca of the United States—but he is perhaps one of the most famous. In the course of the show, we hear him sing popular songs such as “When the Saints Go Marching In”, “Hello, Dolly”, “When You’re Smiling”, and many others.

The show’s title, however, is named after the signature number, “What a Wonderful World.” But we learn ironically that Armstrong’s life wasn’t always so great and wonderful, and rather full of ups and downs. There were the tragedies he invented for himself, like not being faithful to each of his wives: We see the four bemoan their situation as they sing separately or in some combination. Plus there was always some type of tragedy related to the fact that Armstrong was a black man in a white-dominated society. Racism in America and the color line clearly affected how people treated him in both the white and black communities. And yet he tried his best to smile through it all. Satchmo’s huge smile became his stock in trade while his music and image became popularized worldwide.

The sets are breathtakingly beautiful, with panels and backdrops which slide from ceiling to floor and with props and furniture that emerge upwards. Scenic design and projection design by Adam Koch cannot be excelled; it so enthralls and amazes all of us! Together with prop designer Lillian Sun, a multipurpose set has just enough wiggle room to depict various scenes—and episodes of Armstrong’s life—in conjunction with the brilliantly executed lighting by lighting designer Cory Pattak. I especially loved the series of glass bottles, the speckled lights, and the shelved backdrop that delineated Armstrong’s house in Queens, New York. But every single element makes this production a spectacle! The depictions of trunks in many scenes indicate just how much he travelled during his career and how much his touring from city to city affected the trajectory of his life—and his loves. Gorgeous costumes, appropriate for each decade, have been designed by Toni-Leslie James and are prominent throughout. Choreography by Rickey Tripp is playful and energetic. And of course, what would a musical be without the music and the musicians? Original music, arrangements, orchestrations, and music direction have been created by the husband and wife team of Annastasia Victory and Michael O. Mitchell. A ragtime band greets us outdoors as we enter the theater. Not only do they play vibrant music from the 1920s but their trumpeter doubles as a lively dancer.

While the production is initially meant to be a “pre-Broadway tryout” before a Chicago audience, it is perfectly polished. While the sound mix could be improved in spots, there is no doubt that in talent, structure, direction, scenic and prop design, music, choreography, lighting, costumes, and the works, this show excels in every way. The references to living in Chicago clearly got some of the biggest laughs before a local audience, but every moment of this two hour-and-fifty-minute performance is a treat. However, one of the problems on a rainy opening night had to do with latecomer seating 20 minutes after the start time of 7:30 p.m. sharp. I would have preferred that the show begin a few moments later to accommodate these tardy patrons. It was not only disruptive to have so many people crawl over those of us already seated, but, in my case, my (expensive) raincoat tore when I rose and sat down again on it in the dark. (Duct tape to the rescue, most likely in a creative design!)

Armstrong’s well-known music that will have you grinning from ear-to-ear, tapping your toes, and even singing along with some of the lyrics. His wives’ laments will have you understand his life in context. You will feel like a celebrity when you exit the theater at the end of the show for having had the privilege of watching something this great. It truly is a wonderful world (at least, for us in the audience)!

“A Wonderful World” is playing through October 29, 2023, at the Cadillac Palace Theatre, 151 W. Randolph Street, in Chicago.

Tickets run from $31.50 to $200.00, depending on time and date of performance and seat location. A select number of resale tickets may be priced below or above face value.
Ticketing fees may apply.

Performance schedule:

Tuesdays, Thursdays, Fridays – 7:30 p.m.
Wednesdays – 2:00 p.m. and 7:30 p.m.
Sundays – 2:00 p.m.
Extra performance – Sunday, October 15th – 7:30 p.m.

Tickets for individual Broadway In Chicago shows may be purchased online through Ticketmaster.
Visit: https://www.ticketmaster.com/venue/57562.
Or visit the Broadway In Chicago Box Office at 151 W. Randolph, Chicago.

For more information about the show, see: https://www.broadwayinchicago.com/show/a-wonderful-world/.

For more about Broadway In Chicago and their other productions, go to: https://www.broadwayinchicago.com/.

For more information about the Cadillac Palace Theatre, see: https://cadillacpalacetheatre.com/.

“For your health and comfort our theatres have enhanced air filtration, sanitation and reduced touchpoints including mobile tickets and more. We will be at 100% capacity with our staff masked and vaccinated. Audiences are strongly recommended to wear masks at all times throughout the theatre….. Protocol is subject to change without prior notice.”

“Please be advised that the Broadway In Chicago website www.broadwayinchicago.com and Ticketmaster at www.ticketmaster.com are the ONLY authorized ticket sellers for Broadway In Chicago attractions. They can’t guarantee that any tickets purchased through any other source online or otherwise will be valid….”

Note that this show has mature content and is not recommended for those under age 13.