Reviewed by Judd Hollander
The trick when presenting a
biographical vehicle is to make sure the audience is able to relate to the
subject in question. Especially if that subjects happen to be, in the words of
director Robert O’Hara, “sexist, prejudiced, colorist, misogynist and elitist.”
Fortunately, the Encores! production of the 1992 Broadway musical Jelly’s Last Jam, about the life of jazz
pioneer Ferdinand Le Menthe “Jelly Roll” Morton (1891-1941), is able to do
exactly that, and more. Strongly directed by O’Hara, this deeply stirring
presentation can be seen at
The story takes place at The Jungle Inn, “a run-down club somewhere's ‘tween heaven n’ hell,” where Jelly Roll Morton (Nicholas Christopher) has been summoned in the immediate aftermath of his death. He’s greeted upon his arrival by the no-nonsense Chimney Man, (Billy Porter, in a superlative performance); a being who will make the determination of exactly where Jelly will spend eternity. Chimney also has no patience for Morton’s airs of self-assurance and superiority. Both of which Jelly wears like a protective second skin. Not to mention his habit of continually stretching the truth. Like how he claimed to have invented jazz.
As Jelly waits to learn his fate,
he finds himself reliving pivotal moments from his past. Such as the passion when
he first hears musician Buddy Bolden (Okieriete Onaodowan) playing the cornet one night in New Orleans; the joy at reconnecting with an old friend (John Clay
More than just a straight through-line story of Jelly Roll Morton, the musical paints a picture of the title character as a deeply tormented soul. One with a fear of rejection so acute, he instinctively pushes away anyone he fears might someday hurt him. This fear stems in part from a long-ago trauma when, as a teenager, he was disowned by his grandmother (Leslie Uggams) for playing in a local bar and disgracing the family lineage. Morton’s continual fixation of his Cajun roots from that point on, and thus seeing himself as “better” than other people of color with whom he interacted with, might also have been an attempt to reclaim that part of his heritage he feels was taken from him.
We also see flashes of Jelly’s artistic integrity throughout the story. As evidenced by his musical contributions to the art form of jazz; and also his strong business sense. He often refusing to sign deals with record companies unless he had control over his material. It was an arraignment that worked well when he was turning out hits. However as times and musical styles changed and other jazz greats began coming up through the ranks, Jelly finds his star power beginning to wane.
While the story offers more than enough material to hold one’s attention, George C. Wolfe’s book does feel a bit rushed at points. Particularly in the much shorter second act. What makes the show stand out is the excellent orchestrations by Luther Henderson, (additional orchestrations by Daryl Waters and William David Brohn), Edgar Godineaux’s marvelous choreography, and a top-notch cast.
Christopher is perfect as Jelly Roll Morton. The actor imbuing the character with a strong sense of style and swagger, plus more than a bit of narcissism and ego. All of which hide the insecurities he carries inside. These sometimes competing factors show Jelly to be a complicated individual always striving for the next big thing. While at the same time always running from what he has lost.
Joaquina Kalukango is excellent as Anita, the great love of Jelly’s life, and also someone who can give as good as she gets whenever they have an argument. She’s also the only person Jelly is comfortable enough with to confide in. Their quiet moments together offer the audience an important bit of insight into Jelly’s tightly controlled persona. Elsewhere, Clay is nicely amicable as Jelly’s longtime friend Jack the Bear; while Diadhiou does a nice job as Young Jelly. Also quite good is Onaodowan, who gives an effective performance as Bolden.
Among the highlights in the score is the torch song "Play The Music For Me," beautifully sung by Kalukango. Other memorable tunes include "Michigan Water," in a rendition by Onaodowan and Tiffany Mann; the rousing "The Whole World's Waitin' to Sing Your Song", delivered by Christopher and Diadhiou; and the poignant "The Banishment, strongly put across by Leslie Uggams. Also quite good is the mournful “The Last Chance Blues,” sung by Christopher and Kalukango. Though there are a few times when the music tends to drown out the lyrics, thus lessening the number’s overall impact.
From the performances to the music to the message, there is quite a lot to unpack in the Encores! production of Jelly’s Last Jam and it is certainly worth checking out.
Jelly’s Last Jam
Featuring: Nicholas Christopher
(Jelly Roll Morton), John Clay
Ensemble: Raymond Baynard, Shawn Bowers, Amanda Castro, Joshua Dawson, John Edwards, Ari Groover, Morgan McGhee, Jodeci Milhouse, Ramone Nelson, Paul Niebanck, James Patterson, Antonia Raye, Salome Smith, Taylor Mackenzie Smith, Funmi Sofola, Jordon Simone Stephens, Renell Anthony Taylor, Nasia Thomas, Sir Brock Warren, Chanse Williams
Book by George C. Wolfe
Music by Jelly Roll Morton
Lyrics by Susan Birkenhead
Musical Adaptation & Additional
Music Composed by Luther Henderson
Arrangements & Orchestrations:
Luther Henderson
Additional Orchestrations: Daryl Waters & William David Brohn
Scenic Designer: Clint Ramos
Costume Designer: Dede Ayite
Lighting Designer: Adam Honoré
Sound Designer: Megumi Katayama
Hair & Wig Designer: J. Jared
Janas
Music Coordinator: Kimberlee Wertz
Production Stage Manager: Karen
Moore
Casting by The Tesley Office,
Destiny Lilly,
Score Consultant: Daryl Waters
Choreographer: Edgar Godineaux
Tap Choreographer: Dormeshia
Featuring: The Encores! Orchestra
Guest Musical Director: Jason
Michael Webb
Directed by: Robert O’ Hara
Presented at
Tickets: 212-581-1212 or www.nycitycenter.org
Running time: 2 hours, 20 minutes,
with one intermission
Closes:
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