In theatre, dreams come to life through characters, narratives, and costumes. Few understand this better than J. Theresa Bush, an assistant professor of costume design at the University of Southern Mississippi (USM). She’s making headlines for her role as the associate designer in the musical, “A Wonderful World,” a production celebrating the legacy of jazz icon Louis Armstrong.
Bush’s journey into costume design is a tale of talent, mentorship, and passion. It’s a story demonstrating how academia and the professional theatre world can come together to create extraordinary experiences for educators and students. For her, the opportunity to work on a professional production is not just a job but a scholarly exploration.
“It’s amazing,” Bush said. “So, because I’m an academic professor here, going out to work on a professional production is called My Research, right? It’s my scholarly research. So I had to get approval from the university to take the time off campus to do that.”
While teaching remotely during the production, Bush was fully immersed in the work of “A Wonderful World.”
In that way, working professionally is incredible,” Bush said. “It feels good because I can bring my professional experience back to my teaching so the students benefit from my exposure.”
The benefits of this blend of academia and professional work extend to her students.
“I brought two students down to see the show,” Bush shared. “One is a BFA, Bachelor of Fine Arts, a design and technology student studying hair and makeup. So they got to come down and see the wig shop and visit all of the very expensive Hollywood wigs.”
Another student had the opportunity to witness the magic of theater on opening night. Bush’s desire to share the professional experience with her students exemplifies educators’ commitment to enriching their students’ lives through hands-on learning.
Bush’s journey was significantly influenced by her mentor, Toni-Leslie James, a renowned Broadway costume designer. Her path to professional theatre began during her graduate studies at Virginia Commonwealth University in Richmond. James’s mentorship led to collaborations with Bush as the associate designer on various regional projects. The synergy between the two extended to James pulling Bush into this current project, “A Wonderful World,” when she needed additional help. This partnership also reflects an understanding of the delicate balance between teaching and working in the field.
“Toni is also a professor and an educator,” Bush said. “She’s at Yale School of Drama and understands the challenge of teaching, working, and being in the field. Exactly. So she asked me to do it.”
The musical “A Wonderful World” is a tribute to Louis Armstrong, an influential figure in jazz. It traces his musical journey, starting from the birth of jazz in his native New Orleans. The play spans 70 years of Armstrong’s life, encompassing his rise from a young boy in New Orleans to a jazz icon. While the story is based on factual events, it is also theatricalized to create a captivating narrative.
Costume design plays a critical role in this production. Bush shares insights into the creative process, explaining that the pre-production phase sets the stage for the entire journey. The process commences with discussions and conceptualization, progressing through script analysis, research, and sketches and culminating in the production phase. The art of rendering costume drawings is a critical part of this process. Bush elaborates,

“The drawings are like the package you present to the director so they can see what is in your mind,” Bush elaborated. “So you have to render it on paper or on the computer in a way that can communicate what your vision is so the director can respond to that vision.”
She also highlighted the significance of the quick changes in the production, where actors swiftly change costumes on stage. The moments when the costume vision comes to life on stage bring immense satisfaction to Bush.
The play is a seamless blend of talented actors, musicians, and dancers who transport the audience into Louis Armstrong’s world. The production features a live band playing offstage to ensure the authenticity of Armstrong’s iconic sound. “A Wonderful World” began with pre-Broadway performances at the Saenger Theatre in New Orleans. New Orleans, the city where Louis Armstrong spent his formative years, embraced the musical with enthusiasm. Bush and her team utilized local talent and resources, contributing to the local economy. The audience in New Orleans showed immense love for the production.
The musical is now at Cadillac Palace Theatre in Chicago from October 11-29 after it ran in New Orleans. The musical’s success in Chicago will determine its future, with hopes of securing a spot on Broadway in the coming year. The musical is a complete homage to Louis Armstrong, known for his contributions to jazz. The title of the play, “A Wonderful World,” is from his most famous song.
With Louis Armstrong at its heart, the production brings to life the world of jazz from the 1920s to the 1970s. The music, accompanied by captivating performances and impressive choreography, adds a layer of authenticity to the story.
“There’s a lot of tap dancing, and there’s a lot of jazz dancing, and there’s a lot of period dancing because it goes from the 1920s up to the 1970s,” Bush explained.
The musical acknowledges the importance of New Orleans, where Armstrong began his musical journey, and the significance of Chicago in his life. The show’s engagement in these cities is a testament to the profound impact these locations had on Armstrong’s career. As “A Wonderful World” continues to captivate audiences in pre-Broadway engagements, theatre enthusiasts and fans can stay updated by visiting the show’s official website, LouisArmstrongMusical.com, for further details, showtimes, and exclusive content.
Bush is not resting after the success of “A Wonderful World.” She is eagerly looking forward to future projects. One such project is “Doctor Faustus” at USM Theatre, where her student, Hagen Harkins, will serve as the associate costume designer. Additionally, she is excited about her upcoming lead designer role in “Funny Girl” at Maine State Music Theater next summer.
Bush’s advice for aspiring costume designers is simple: get out there and work in the industry.
“It’s important that you get in the industry because that’s where the training is,” she explained.
The contributions of educators and professionals like J. Theresa Bush are essential in the continued growth and vitality of the theatre industry, connecting academic knowledge to real-world expertise and inspiring students to pursue their dreams in the theatre world.