Lil & Satchmo @ Jubilee Theatre

—Jan Farrington

They were born to swing.

Playwright Jo Morello’s Lil & Satchmo celebrates a famous twosome once called “The First Couple of Jazz”—Louis Armstrong and his talented wife Lil Hardin Armstrong, herself a popular jazz pianist, band leader, and composer. “Satchel Mouth” (“Satchmo” for short) and “Hot Miss Lil” (each leaving behind a bad first marriage) tied the knot in their heyday, in 1924. Though they were most often found in Chicago or New York, they also toured the jazz-mad cities of America—sometimes together, sometimes apart. Over time, Lil became her husband’s manager and muse, upgrading his style and pushing him to be the jazz legend she knew he was. They led their own bands, ran through a bunch of money, and repeatedly fought, kissed, and made up until they officially split in 1938.

But they never stopped being friends…maybe forever.

Jubilee Theatre’s bio-play, full of warmth and spirit, is well-directed by Khira Hailey (Jubilee’s How I Got Over). The show puts its energy into great jazz classics (Dameron Growe is the musical director) and catchy choreography (from Brittanee Bailey). It’s a smart, engaging way to give us the sound, look, and feel of those years, not just the biographies.

Act One moves slowly through the romance, sensibly hanging on to the happiest part of their life together (though Morello’s script could use some tightening). There’s plenty of humor in the odd-couple pairing of classically trained Lil (Sydney Hewitt) and orphan hardscrabbler Louis (Davian Jackson). Jackson delivers a convincingly gravel-throated Satchmo, and (as well-brought-up Lil) Hewitt’s surprise at her deep attraction feels funny and real. Surely she can’t be falling for this short, chubby cornet player who raised himself on the streets of New Orleans—can she?

Louis may not be a looker, but he’s catnip to the ladies—and in a move worthy of Rhett Butler, he finally snatches Lil up and carries her off. Wary Mama (Crystal Williams) comes around as the money comes in, and Lil slowly takes charge of Louis’ career. Louis doesn’t see himself as a star, but Lil knows his talent is second to none. To challenge him, she forms her own band, and waits for him to come around.

Both Hewitt and Jackson are engaging talents whose battles and cuddles generate real onstage heat. They’re surrounded by a foursome of Jubilee’s best—Williams, Kris Black Jasper, Ron Johnson, and Jason Hallman—who sing, dance, and play a variety of real-life jazz history characters, including Jelly Roll Morton and Lil’s friend Mae Brady (herself a band leader).

Lil & Satchmo springs to life in the musical numbers. Choreographer Bailey (making her Jubilee debut) runs the cast through a delightful mix of period dances (the Charleston is only the start) that feel as fresh and lively as anything I’ve seen lately. (And they can sing while they’re doing it!) Jason Hallman, whose background with Bruce Wood Dance Company is showing, is a standout.

Lil and Louis are pulled apart by their lives on the road; they’re often in separate cities, lonely and tempted. Financial troubles pull at them—especially Louis’ easy way of making the songs Lil composes his own, along with the royalties. By the 1930s, Satchmo is famous all over the world. Lil struggles, but she’s still working, still writing songs, still wearing his ring.

How does it all end? In Lil & Satchmo, love lasts longer than we could ever imagine, with a touch of magic and a taste that’s both salty and sweet.

Click below to hear Lil, Louis and their “Hot Five” in the mid-1920s:

https://www.youtube.com/watch?v=fzXEQkc1u9c

And here’s Lil (but not Satchmo) in 1938, on piano and vocals:

https://www.youtube.com/watch?v=kWiLuhmAo0U

WHEN: Through February 27

WHERE: 506 S. Main Street, Fort Worth

WEB: jubileetheatre.org