Louis Armstrong/Joe Glazer/Miles Davis | San Jose Stage Company
SATCHMO AT THE WALDORF is a one-man, three-character play in which the same actor portrays Louis Armstrong, the greatest of all jazz trumpeters; Joe Glaser, his white manager; and Miles Davis, who admired Armstrong’s playing but disliked his onstage manner. It takes place in 1971 in a dressing room backstage at the Empire Room of New York’s Waldorf-Astoria Hotel, where Armstrong performed in public for the last time four months before his death. Reminiscing into a tape recorder about his life and work, Armstrong seeks to come to terms with his longstanding relationship with Glaser, whom he once loved like a father but now believes to have betrayed him. In alternating scenes, Glaser defends his controversial decision to promote Armstrong’s career (with the help of the Chicago mob) by encouraging him to simplify his musical style, while Davis attacks Armstrong for pandering to white audiences.
Of all the facts expressed, one races to the top of the heap: The masterful perspicacious work of L. Peter Callender as he navigates three distinct characters in "Satchmo" is an absolute storm of joy, anger, heartbreak and betrayal.
"Torvald’s character is surprisingly nuanced. Gularte said she liked that the play showed a male perspective on how complicated marriage and love can be because of societal constructs of what men and women want. Callender hits every punch of these conflicting emotions with a stellar performance that invites plenty of empathy."
Leonard Parker, LocalToday
"As Torvald, L. Peter Callender is exquisite. Having last witnessed his prowess during the virtual screening of Satchmo at the Waldorf, his presence onstage in person is unmatched. He rivals toe to toe with Nora in every back and forth. He is stoic and staunch, no-nonsense, and yet you feel the wounded parts of him as well."
Drew Eberhard, Broadway World
Torvald | Tampa Repertory Theater, Tampa, FL
Nov 3 - 20, 2022
As a door slams in 1879 Norway, a young wife and mother leaves behind her family, freeing herself from the shackles of traditional societal constraints. Now, 15 years later, that same door opens to reveal Nora, a changed woman with an incredibly awkward favor to ask the people who she abandoned. Lucas Hnath’s bitingly funny sequel to Ibsen’s revolutionary masterpiece unfolds in a series of bristling stand-offs that reveal in Nora’s world, much like our own, behind every opinion there is a person, and a slamming door isn’t just an end, but also the chance for a new beginning.