Photos by Jeremy Daniel

So many standards Louis Armstrong popularized or personalized throughout the last century are permanently woven into America’s artistic fabric, but ever since his passing in 1971, the late jazz king’s personal pursuits became far less publicized.

Yet they are coming back into focus since “A Wonderful World,” billed as a new musical about his life and loves, is making the pre-Broadway rounds at prestigious places like the Cadillac Palace Theatre, whose opening night ovation suggested it lived up to the title, thanks to the unpredictable premise, a tremendous cast and production team led by “Save The Best For Last” recording artist/actress Vanessa Williams.

However, the more than two hours leading up to that point portrayed the New Orleans native, precisely personified by Tony Award-winner James Monroe Iglehart, as quite a complicated figure, who may have been born into poverty during a period of extreme segregation, but utilized his talents as both a distinctively gravely singer and silky trumpet player to find enormous fame, naturally meeting several women along the way.

Audiences are quickly introduced to his first and by far most dramatic love, Daisy Parker (Khalifa White), a prostitute from a hometown brothel who can’t handle the constant touring or its temptations.

Mentor and cornet player/bandleader Joe “King” Oliver (Gavin Gregory) gets the main character a more permanent Prohibition era gig in Chicago, which is when Armstrong especially embraces the spirit of the Roaring Twenties and a romance with fellow musician turned business manager Lil Hardin (Jennie Harney-Fleming).

Right when it seems like she’s the one, those eyes begin wandering again towards the younger, fan-like Alpha Smith (Brennyn Lark) in the process of rebounding from the Great Depression as a Hollywood movie star, followed by stumbling upon chorus girl Lucille Wilson (Ta’Rea Campbell) and seemingly settling down in a spacious New York home.

As if that wasn’t enough, Armstrong is constantly sorting out their wild interactions, steering away from shady managers and securing a prominent place on the charts via “On The Sunny Side Of The Street,” “When You’re Smiling,” “When The Saints Go Marching In,” “Hello, Dolly!” and of course, “What A Wonderful World,” though there’s strangely and unfortunately no background information whatsoever about the latter signature song.

Nonetheless, the show dives deep into his constant battles with racism, plus being temporarily and inexplicably canceled for honest comments relating to the horrifying treatment of the Little Rock Nine, a group of Black students who simply wanted to attend an Arkansas school in the process of being integrated.

All the while, “A Wonderful World” will be the first to admit Armstrong is far from perfect, but his quest to change for the better, even when it almost seems too late, is enough to make those efforts feel as rewarding as the countless creative expressions he left behind.

“A Wonderful World” continues at the Cadillac Palace Theatre through Sunday, October 29. For additional details, visit LouisArmstrongMusical.com and BroadwayInChicago.com.

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