• Mosaic Theater

A CurtainUp DC Review Satchmo at the Waldorf


Satchmo at the Waldorf begins with an uncanny impersonation of Louis Armstrong's posture by the gifted actor, Craig Wallace. Belly forward, shoulders back, a white handkerchief in one hand and an ear-to-ear grin. No words, just a spotlight which goes down quickly. A very theatrical beginning to a very interesting piece. Playwright/Wall Street Journal Theatre Critic Terry Teachout's adaptation for the stage of his biography of Armstrong hides nothing from Armstrong's very modest beginnings in Storyville, the wrong side of the tracks in New Orleans to his triumphant appearance, before a totally white audience at the Waldorf Astoria hotel in New York City. His early years were challenging. His mother was a whore and his father disappeared when Armstrong was an infant. Getting in to trouble at a very young age was, ironically, Armstrong's salvation. He was sent in 1912 to the Colored Waif's Home for Boys where for the first time he heard the sound of a trumpet — the Home had a brass band — and that was it. He took lessons and knew what he wanted to do for the rest of his life. Satchmo at the Waldorf lays out Armstrong's transitions from playing on Mississippi riverboats, to playing in Chicago, New York and, as his fame grew, all over the world. Always smiling (in public, at least) and always seeming at ease, Teachout lets the audience know what Armstrong was really like: a foul-mouthed womanizer, and, by the later days of his career, according to his fellow musicians, an Uncle Tom. Craig Wallace, whose work in Washington has ranged from Shakespeare to wacky modern comedy roles, gives his best performance to date, in a one-man show no less. Wallace neither sings nor plays the trumpet but tapes of Armstrong's performances are interspersed in the performance. Both playwright and actor have brought to the fore the contradictions in Louis Armstrong's nice, clever guy on stage; tough, determined and yet vulnerable when off it. Plus he very effectively takes on the roles of other characters most notably the cool dude Miles Davis sporting shades and his not altogether trustworthy manager, Joe Glaser, a cigar-chomping shyster associated with the Mafia. Under Eleanor Holdridge's direction, the contrasts in characters is very pronounced and the transitions from one to another are smooth. The Mosaic Theater, located in what is now considered the hippest part of DC, has a very healthy vibe. It's a fun place to go. But, as a theater it does have a serious drawback and that is a stage that's too wide. Set designer Andrew Cohen has solved that problem by making a stage within a stage, cutting the width of the playing area by (I'm guessing) a half. What we see is a dressing room with spaces on both sides enhanced by Alberto Segarra's lighting where characters other than Armstrong offer their asides. It works extremely well. The deservedly esteemed playwright/critic and former musician Terry Teachout attended the opening night performance. Asked to speak after the 95-minute show ended Teachout offered the critics prayer, "Oh, let it be good or let it be short." Satchmo at the Waldorf is both.


#Satchmo

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BOX OFFICE

Atlas Performing Arts Center

1333 H Street NE

Washington, DC 20002

boxoffice@atlasarts.org

202-399-7993 ext 2

 HOURS

Monday-Friday, 11 AM to 2 PM; 3 PM to 6 PM

In person: 2 hours prior to show on show days

Box office does NOT take calls two hours prior to a show's curtain, but will return all voice messages left during that time.

Will Call opens one hour prior to curtain.

Patrons who arrive late will be seated at the discretion of management.