Giving Lil Hardin Armstrong long delayed recognition for her starring role in jazz and theater history, Lil & Louis puts a spotlight on her and her relationship with Louis Armstrong. He may be the more famous, but playwright Jo Morello shines a light on Lil’s many-faceted musical achievements and her influence on his career. Theirs was also a short-lived marriage but a love story that lasted as long as their lives. While living, Lil didn’t need her achievements explained. Marta McKinnon dazzles from the start of the play as a mere youngster who rose to fame in the Roaring ‘20s as a singer and pianist. She quickly mastered arranging and composing as well and was much sought-after by Chicago bands. McKinnon is thoroughly believable as a big band jazz pianist who contrasts mightily with a heavy, ill dressed and mannered coronet player “Little Louie” Armstrong (Michael Kinsey, properly nerdy except with his horn). Lil is largely responsible for transforming Louis with her advice and then love. She manages him and arranges and composes songs for and with him. They leave the unsuitable spouses each have and marry. Due to Louis’s always straying sexually, their marriage goes on the rocks, but, even after divorce, the two always love each other. Playwright Morello shows too that Lil always enhanced his career, even when uncredited for her musical contributions or listening to his marital and financial woes. Lil’s influential mother, some of the women tempting Louis, and an array of men in the music and other businesses are played by an ensemble of simply dazzling talents: Yvonne Lyles (principally as the Mother), Andrea Coleman (as pretty and nice women in addition to those who attract and marry Louis) and Donovan Whitney (as Red Saunders, Jelly Roll Morton, “King” Oliver, and just about every other man in Lil’s or Louis’ life). These three took over at the last minute for an additional player (Michael Kinsey) who stepped in as a pretty amazing lead when the slated Louis could not memorize his lines. One wouldn’t guess that director Harry Bryce helmed the show only days before opening, as the longtime director became hospitalized. Luckily, Bryce’s experience came through. He’s been helped by the musicians and the technical advisors and crew who accomplished delivery of bits of mostly recorded music of almost 50 songs—some repeated as scene-setters and motifs. Jo Morello’s play has come a long way since it was first workshopped last year. I think the end could still be pared a bit: Lil’s toggles with Louis seem a bit repetitive. Since the structure of the play is almost cinematic, it begs for a bigger scenic presentation. But given a very modest budget and a lot of story to cover, Lil & Louis deserves further development and production just as heroine Lil merits more recognition for her accomplishments.
