HAPPY BIRTHDAY!!!! I really like you (as Sally Field enthusiastically screamed) and your videos. I had the honor of seeing James Monroe Iglehart twice on stage, in the musicals "Memphis" and "Aladdin." He's a SUPER TALENTED guy.
I saw James Monroe Iglehart in Aladdin years ago. I met him at the stage door and he was so kind and generous with his time. If I were to see this show, it would be to see him in this role.
I have a hard time enjoying most of the biographical jukebox musicals because the pacing is always so quick, as you mentioned, and it always seems like the dramatic moments haven’t been earned yet by the time we arrive at them. All the elements are usually well executed and slick, but I find myself leaving thinking, “was that person’s life really fodder for a full length Broadway musical, or would this have worked better as a Vegas revue?” Sounds like this one does have some good qualities still, so maybe I will check it out to enjoy the songs. Thanks for sharing your thoughts.
Yeh, I agree. Bio musicals are always difficult because the songs rarely function to move the plot of the story forward. It's even harder when the subject is better known for interpreting other peoples songs rather than writing their own.
I briefly met James Monroe Iglehart when he was living in California (Bay Area) years ago. Super nice guy. Very happy he has a successful Broadway career now. 😊 (I think “Hammerstein” rhymes with “glamour wine” ✨ 🍷.)
Shorter titles are better. Coincidentally I had a show that played New Orleans with the subtitle "The life and legacy of Ignacy Paderewski" It was also dropped before the premiere
I live in Chicago, and I was so hot to see this show when it tried out here. Then I saw the clips, and found it was about his wives. OK, so a jazz version SIX. Just like SIX, I dropped any thought of seeing it like a hot potato. These concepts/marketing scams are simply designed to convince women to drag their husbands/boyfriends to the theatre. Why are the wives singing when we want to hear Satchmo? Sexist? Well, if anyone proposed an Elizabeth Taylor musical told from the point of view of her husbands they'd be laughed out of town. Although the idea of hearing Eddie Fisher and Richard Burton et al. sing about their relationships with her would offer at least a hint of morbid curiosity
The story isn't told from the wives perspective. But they do figure very prominently. Maybe they didn't want the actor to lose his voice having to sing too many songs in that gravely voice. James Monroe Iglehart only does 6 shows a week as it is. (There's another actor who plays 2 a week.)
I appreciate your review. It seems informative, thoughtful, and well-rounded. Qualities I haven't seen in recent New York Times reviews. I haven't seen this show, but the video clips I've seen (Broadway and Chicago tryouts) don't seem to have much spark. Maybe that's a marketing issue? James Monroe Iglegart is immensely talented and from what I've seen I agree with you that he disappears. However, I think because he co-directed himself (which I wasn't aware of until you mentioned it!) is why the show seems to lack that certain "somethin' somethin'." It seems as though Mr. Iglehart got to a certain place but didn't have a Diane Paulus or a George C. Wolfe to not only push him but also help shape the show. Louis Armstrong is considered one of the few authentic jazz geniuses. That aspect could have been the focus alone. However, that angle might work better in the style of an August Wilson play rather than a mainstream musical. His later "Wonderful World" career is more about popular music and success. Which is fine. I love the title song, but it's clear that sentimental hokum is more marketable than "Jazz Genius," so I can't begrudge them for making the show more populist, but the 4 wives structure, which you analyzed brilliantly, also seems to somehow undermine getting to know him as an artist. Unfortunately for Mr. Armstrong, during the Black Power movement of the 60s, many young African Americans found him to represent a servile stereotype, so he was sadly reviled by some of the new guard. This could have been excellent material for an original 11:00 o'clock number for Iglehart in the style of "Rose's Turn" but with a heart. Iglehart gets his second Tony. Alas, this show resides in a town called "Jukebox Musical." Okay, I've said an awful lot for someone who hasn't seen the show and I'm definitely armchair quarterbacking. I do hope I am wrong and this show succeeds and Mr. Iglehart gets at least nominated for that 2nd Tony. Thanks for the review. I just clicked like and subscribe. Happy birthday, Scorpio!
Thanks for subscribing! There is a through line of Louis being seen as an Uncle Tom and there are moments where they reference the civil rights movement and the poor treatment of black people. In my review I mentioned that Louis gets blackballed for a time. This was because he finally spoke out against Eisenhower and people thought he was being unpatriotic and ungrateful.. So there is a thin through line that does address the turbulence of the times. The difficulty with jukebox musicals is that it's hard to have an 11 o'clock number when there aren't any emotionally dramatic songs in the performers repertoire. They use his comeback song "Hello Dolly" as the 11 o'clock number. I also wonder if there aren't any historical records such as diary entries or letters that could give us a glimpse into Louis' emotional inner life. Maybe he was a private person?
It more likely that he had two large masses on his lymph nodes and he was a pot smoker. The show is more about his wives point of view. Yes u had African American entertainer’s but there was nobody like Louie. This not your typical juke box musical. Louie was not your typical singer. I would love to see a movie about Louie and this fantastic musical. I closed my eye while listening to him and could hear Louis. This more of a tribute musical that a biopic of Louie. May I have Louisiana blood in me. I do love your comments though.
I just saw this. I thought it was fine. Great music. It didn’t wow me. Reminded me Gatsby in the sense it had traditional dancing and large sets. Nothing earth shattering.
Yeh. It never grabbed me emotionally. Gatsby has a similar issue because we know the relationships aren't going to last, so it's hard to root for them. BUT at least Gatsby has an interesting dramatic structure.
I look forward to your reviews.
HAPPY BIRTHDAY!!!! I really like you (as Sally Field enthusiastically screamed) and your videos. I had the honor of seeing James Monroe Iglehart twice on stage, in the musicals "Memphis" and "Aladdin." He's a SUPER TALENTED guy.
Yes! I didn't see him in Aladdin but I loved him in Memphis. I also saw him in Spamalot.
I saw James Monroe Iglehart in Aladdin years ago. I met him at the stage door and he was so kind and generous with his time. If I were to see this show, it would be to see him in this role.
It's his baby. Go support!
I have a hard time enjoying most of the biographical jukebox musicals because the pacing is always so quick, as you mentioned, and it always seems like the dramatic moments haven’t been earned yet by the time we arrive at them. All the elements are usually well executed and slick, but I find myself leaving thinking, “was that person’s life really fodder for a full length Broadway musical, or would this have worked better as a Vegas revue?”
Sounds like this one does have some good qualities still, so maybe I will check it out to enjoy the songs. Thanks for sharing your thoughts.
Yeh, I agree. Bio musicals are always difficult because the songs rarely function to move the plot of the story forward. It's even harder when the subject is better known for interpreting other peoples songs rather than writing their own.
I briefly met James Monroe Iglehart when he was living in California (Bay Area) years ago. Super nice guy. Very happy he has a successful Broadway career now. 😊 (I think “Hammerstein” rhymes with “glamour wine” ✨ 🍷.)
Are you enjoying.a glass of glamour wine this evening?
@@MatthewHardyMusical As a matter of fact, yes! 😃
Wow! 😅 I never knew that! Thanks!
When it played New Orleans in its pre Broadway tryout it had a subtitle: The Life and Loves of Louis Armstrong
Shorter titles are better. Coincidentally I had a show that played New Orleans with the subtitle "The life and legacy of Ignacy Paderewski" It was also dropped before the premiere
I live in Chicago, and I was so hot to see this show when it tried out here. Then I saw the clips, and found it was about his wives. OK, so a jazz version SIX. Just like SIX, I dropped any thought of seeing it like a hot potato. These concepts/marketing scams are simply designed to convince women to drag their husbands/boyfriends to the theatre. Why are the wives singing when we want to hear Satchmo? Sexist? Well, if anyone proposed an Elizabeth Taylor musical told from the point of view of her husbands they'd be laughed out of town. Although the idea of hearing Eddie Fisher and Richard Burton et al. sing about their relationships with her would offer at least a hint of morbid curiosity
The story isn't told from the wives perspective. But they do figure very prominently. Maybe they didn't want the actor to lose his voice having to sing too many songs in that gravely voice. James Monroe Iglehart only does 6 shows a week as it is. (There's another actor who plays 2 a week.)
I appreciate your review. It seems informative, thoughtful, and well-rounded. Qualities I haven't seen in recent New York Times reviews. I haven't seen this show, but the video clips I've seen (Broadway and Chicago tryouts) don't seem to have much spark. Maybe that's a marketing issue? James Monroe Iglegart is immensely talented and from what I've seen I agree with you that he disappears. However, I think because he co-directed himself (which I wasn't aware of until you mentioned it!) is why the show seems to lack that certain "somethin' somethin'." It seems as though Mr. Iglehart got to a certain place but didn't have a Diane Paulus or a George C. Wolfe to not only push him but also help shape the show. Louis Armstrong is considered one of the few authentic jazz geniuses. That aspect could have been the focus alone. However, that angle might work better in the style of an August Wilson play rather than a mainstream musical. His later "Wonderful World" career is more about popular music and success. Which is fine. I love the title song, but it's clear that sentimental hokum is more marketable than "Jazz Genius," so I can't begrudge them for making the show more populist, but the 4 wives structure, which you analyzed brilliantly, also seems to somehow undermine getting to know him as an artist. Unfortunately for Mr. Armstrong, during the Black Power movement of the 60s, many young African Americans found him to represent a servile stereotype, so he was sadly reviled by some of the new guard. This could have been excellent material for an original 11:00 o'clock number for Iglehart in the style of "Rose's Turn" but with a heart. Iglehart gets his second Tony. Alas, this show resides in a town called "Jukebox Musical." Okay, I've said an awful lot for someone who hasn't seen the show and I'm definitely armchair quarterbacking. I do hope I am wrong and this show succeeds and Mr. Iglehart gets at least nominated for that 2nd Tony. Thanks for the review. I just clicked like and subscribe. Happy birthday, Scorpio!
Thanks for subscribing! There is a through line of Louis being seen as an Uncle Tom and there are moments where they reference the civil rights movement and the poor treatment of black people. In my review I mentioned that Louis gets blackballed for a time. This was because he finally spoke out against Eisenhower and people thought he was being unpatriotic and ungrateful.. So there is a thin through line that does address the turbulence of the times. The difficulty with jukebox musicals is that it's hard to have an 11 o'clock number when there aren't any emotionally dramatic songs in the performers repertoire. They use his comeback song "Hello Dolly" as the 11 o'clock number. I also wonder if there aren't any historical records such as diary entries or letters that could give us a glimpse into Louis' emotional inner life. Maybe he was a private person?
It more likely that he had two large masses on his lymph nodes and he was a pot smoker. The show is more about his wives point of view. Yes u had African American entertainer’s but there was nobody like Louie. This not your typical juke box musical. Louie was not your typical singer. I would love to see a movie about Louie and this fantastic musical. I closed my eye while listening to him and could hear Louis. This more of a tribute musical that a biopic of Louie. May I have Louisiana blood in me. I do love your comments though.
Thanks! Yes, a tribute is a good way of describing this show.
In brutal honesty; seeing your review here entwined with the New York Times’ review, I fear that this might sadly be the first flop of the season…
I hope it stays open for a while. There's a lot of talent on that stage.
WORST montage for a Broadway show since SOOOO long
I just saw this. I thought it was fine. Great music. It didn’t wow me.
Reminded me Gatsby in the sense it had traditional dancing and large sets. Nothing earth shattering.
Yeh. It never grabbed me emotionally. Gatsby has a similar issue because we know the relationships aren't going to last, so it's hard to root for them. BUT at least Gatsby has an interesting dramatic structure.