Interview: James Monroe Iglehart On Pre-Broadway A WONDERFUL WORLD

A Wonderful World is the singular story of jazz legend, Grammy Award® winner and American icon Louis Armstrong, as told by the women in his life. Armstrong's innovative musicianship and incredible charisma as a trumpet player and vocalist would lead him from the early days of jazz in his native New Orleans to five decades of international stardom.

Conceived by Drama Desk Award winner and Tony Award nominee, Christopher Renshaw (Broadway's The King and I, Taboo), and novelist Andrew Delaplaine, A Wonderful World has an original book by author Aurin Squire ("This is Us," "The Good Fight," "Evil") and features songs recorded and made popular by Armstrong. Wife and husband team, Annastasia Victory (Caroline, or Change, Once on This Island) and Michael O. Mitchell (MJ the Musical, Motown), provide original music, arrangements, orchestrations and music direction. Renshaw directs the production, with choreography by Rickey Tripp (Associate Choreographer for Broadway's Once on This Island and Choir Boy). Christina Sajous serves as Associate Director and Aurelia Michael as Associate Choreographer.

BroadwayWorld sat down with star James Monroe Iglehart while the production played its first pre-Broadway engagement in New Orleans to chat about bringing Louis' story to life, the care that goes into telling stories through musicals, and if he can play a certain instrument.

Tell me about the journey behind creating this story.

My journey with the show began during the middle of the pandemic. We were all at home with nothing to do but watch Netflix. I looked at my wife and said, “Hey, I’ve always wanted to watch Ken Burns Jazz.” So, we sat down and started watching, and in the second or third chapter, they talked about Louis Armstrong. And I was fascinated, absolutely fascinated, and taken with this man. I had always heard his voice and thought it was very interesting. I always thought “Hello Dolly” was a funny song for him to sing, and I loved “A Wonderful World,” but I didn’t know anything else about him except for that and the voice. And then I was watching it, I was, “Ohmygod, this man’s story is a musical waiting to happen.” And so, once we finished that chapter, I called my agent about creating the musical, and he said they already had it. Then I said, “Well, if it’s already written, tell them I’m interested in doing it.” But it was during the pandemic, and you won’t hear anything about that. And then the pandemic’s over, it’s a year later, and suddenly, I get a call from my agent, and he said, “Hey, I made that call for you…” and that’s how it got started because I watched a documentary and got interested in this man. The more I read about him, the more interested I became in being part of this project. And I am so excited to bring the show to the birthplace of this legend and see how far we can take it.

I understand the story is told through the viewpoint of his four wives. 

Christopher Renshaw, our director, wanted to do the show, but he also didn’t want to do a straightforward bio-musical…something was interesting in the fact that having the story told, narrated by, the four women in his life because there usually are many periods of a person’s life, the moment when you’re young, the moment when you’re in your 20’s, your 30’s, then when you get to your 40’s on, the person changes and the people you’re with see that change, and these women… it’s an interesting way to tell the story because those four moments of his life were pivotal moments that changed how he reacted to his viewpoint on the world. It’s just a fun vehicle to tell his story without it being the usual, “Hey, let’s start here and start the music.” You’re going to be blown away by these ladies. And Louis’ wives were four very distinct personalities. So, those four distinct personalities telling his story are very interesting.

There is also a husband-and-wife team who worked on this production.

Yes, Anastasia Victory and Michael O. Mitchell. They are the musical director and musical arranger for the show.

While the musical highlights the music of Armstrong, will there be any original songs?

There are a couple of moments in the show that are like interlude moments to get to the next scene, but a lot of it is from Louis’ catalog.

What kind of care goes into telling real-life stories through musicals?

The fun thing with Louis’ story is Louis was one of the few artists who had no problem telling his own story, so the information is there. So, it’s about taking information and trying to…truncate this life of 70 years into two and a half hours and trying to find the best way to tell the story in the most realistic way, but also in a theatrical way to where it would be interesting. You can just tell a story, and you can just do a regular documentary, but this is the theatre, so we have to find that theatrical, dramatic way to tell the story…the story is so compelling that I think people will be engaged with what we’re showing them. Because it’s real, that’s what makes it dramatic. These things happened, and that’s the fun part.

What are some similarities you share with Louis?

I felt for Louis. I share the fact that Louis Armstrong is an African-American entertainer who deals with those problems that come with that. I’m a Disney kid, and there’s nothing like being a person of color who works [in Disney]. Disney has always been great to me, but the perception is like, “Oh James, you didn’t do real videos. You did a Disney show.” When I was growing up, I dealt with the kids on both sides: the white kids and the black kids. Dealing with the fact that me being an entertainer and dealing with how they looked at me on both sides. And so, I felt that when I read about Louis, you know, I feel for this man. And I also know what it’s like to be an entertainer and a husband on the road away from your significant other. And it’s hard, it’s hard. My wife has dealt with so much. We’ve been married for 21 amazing years. My wife, Dawn, is the strongest I’ve ever met in my entire life. It’s hard to be on the road doing things. Sometimes she comes with me, but a lot of times she can’t. And so, to look at how Louis dealt with that, his positives and his negatives, I felt for him, and I understood. This was the first time I saw an entertainer that I thought, “Oh my god, I certainly understand what you’re going through.”

Are you excited to premiere the show in New Orleans?

New Orleans is a wonderful city. And it’s where he was born. I mean, it’s a little daunting to know we’re going to bring it to the place where people knew him, but it’s also sort of challenging to say, “Hey, you know what? Let’s do it. If we can do it here, I know we can do it anywhere.”

Can you play the trumpet?

Always a fun question. I have learned a little bit. I would never call myself a trumpet player, but I will say that I am learning, and I am enjoying the journey of learning to play this instrument. What’s funny is that when I was ten years old, I picked up the trumpet for after school, and I played it for six months. And I was ten, and there’s nothing like 10-year-old logic. “This horn is too heavy; I don’t wanna take it every day to school.” So, I dropped it, and you know what I picked up? The stupid drum…but when we started doing the show, I got a trumpet teacher, and I’ve been playing for a little while, and I do play a little during the show, and I’ve had so much fun relearning this instrument. It’s one of my favorite instruments. I love listening to the trumpet, but I was too scared to pick it back up after being ten. So here I am, 49 years old, picking the trumpet back up and having a ball.

Anything else you’d like to add?

I just want people to know that Louis Armstrong loved people and loved playing music for the people. And I love people, and I love performing for the people. So, I can’t wait for audiences in New Orleans to see the show. I’m proud of what we’ve created, and I can’t wait for them to see it. I want them to enjoy the story of the man, the legend, the icon that came from this city and went on to conquer the world.