Reviewed by William O’Donnell


The Satchmo’ Suite is a rare and wonderful treat, for it only gets better as it progresses. The play increased the volume of well-crafted music and genuinely touching emotion as it went along, which allowed me to have a greater appreciation for both the characters and their story.

We are first introduced to Hubert Clements (Andrew Moodie), a frustrated cellist who is experiencing the potential breakdown of his marriage while on tour with a major symphony. Moodie plays up the grown-up, classical music geek side of his persona with all of the foppish fussiness and pseudo-aristocratic tone one might expect from such a character. Initially, Moodie’s performance is a touch too big for my taste; while trying to make his emotions visible, they enter into caricature.

As I mentioned, with more emotions and music came improvement. As we learn about Clements’ past and overall family issues, particularly involving his father’s life, he becomes authentic and not just frantic comic fodder. His troubles have real grounding, and Moodie’s performance is shaped into something really special by the last third of the show. When he sang, there was initially reluctance, but by the end there was pain and courage.

Similar things could be said about Jeremiah Sparks as Satchmo’ himself, Louis Armstrong. Armstrong is a larger-than-life persona as it is, so it is quite enjoyable when he goes big into a musical number. Again, things only get better as the show progresses.

Sparks’ impression of Armstrong seems quite spot-on and never falls into parody. As the play’s text puts it, Armstrong “Uncle Tom’d” his way through many of his performances in the past, which is true in this show when he would spontaneously burst into an upbeat story and/or song to cheer up and inspire a down-in-the-mouth Clements. But when Sparks slowed things down, with accompaniment from the house pianist, cellist and trumpet player, I was genuinely moved. Sparks demonstrated that behind the big grin of ole Satchmo’ was a powerful soul that cherished music deeply.

In the show, part of Clements’ grief is his playing was compared to Armstrong’s by his conductor, which he took as an insult. Armstrong appears as a ghost (or just figment of Clement’s imagination), in an attempt to not only help Clements find himself but also in hopes of contradicting Clements’ negative feeling towards him; in doing so, Armstrong lays out a case for himself to the audience. Though already a fan, I was made a true believer by the charm channelled through Sparks.

The accompanying musicians (Colin Matthews on cello, John Gilbert on piano and Derry Byre on trumpet) are all world-class players; their talent is reflected in both the score and the phantom-sounds of Moodie and Sparks. The greatest magic of this show is in the music, and these three deserve a hearty share of the credit.

The show consists of 12, mostly original songs by Hans Böggild and Doug Innis, Canadian authors. These charming numbers, along with some great energy from the performers, will please true music lovers.

Though this show upped the proverbial ante by building from a quirky comedy into an epic, emotional drama, it lost nothing by taking such a risk. The Satchmo’ Suite contains strong performances and enthralling musical numbers. This is the sort of show that will warrant the desire for repeat viewings.


This review first appeared in The Manitoban Online (March, 2008)