Theater Review: JELLY’S LAST JAM (Pasadena Playhouse)

MUSIC, MEMORY AND MORTALITY:
THE MAGIC OF JELLY’S LAST JAM

In the resplendent realm of musical theatre, Jelly’s Last Jam has once again ascended to prominence. Recently produced as a concert version by Encores! in New York, Angelinos get an all-new full-out revival, now gracing the stage of the Pasadena Playhouse, where the show opened yesterday. Under the astute direction of Kent Gash, the production pulsates with vivacious performances and a profound musical lineage, simultaneously offering an intricate dissection of the racial complexities that permeated early 20th-century America.

John Clarence Stewart and Ensemble

As the curtains rise, we encounter Ferdinand La Menthe “Jelly Roll” Morton, incarnated by the charismatic John Clarence Stewart, ruminating on his existence from the afterlife. This spectral story facilitates a cascade of flashbacks that, though seemingly disjointed, coalesce with precision, mirroring the erratic genius of Morton himself.

Charting his trajectory from the sonorous streets of New Orleans to his zenith and nadir in the jazz firmament, the musical does not eschew the paradoxes of Morton’s character. His audacious self-assurance, contentious declarations of jazz paternity, and turbulent relationships are meticulously unveiled, painting a portrait as complex as the man it depicts. The production delves into the racial tensions navigated by Morton, illuminating the influence of his Creole heritage on his identity and vocation in a segregated society.

Cress Williams

The role of Jelly Roll Morton necessitates a portrayal that oscillates between charm and introspection, bravado and vulnerability. Stewart excels in embodying the essence of a man whose life was as intricate as his compositions. His stage presence is commanding, his musicality, impeccable; his emotional spectrum, vast’”culminating in a captivating performance. While Stewart may not possess the tap-dancing prowess of Gregory Hines, the original Tony Award-winning performer, the dancers compensate with their own scintillating tap routines.

John Clarence Stewart and Ensemble

The supporting cast contributes a rich depth to the story. Anita, one of Morton’s romantic entanglements, is depicted with a potent blend of strength and vulnerability by Jasmine Amy Rogers who illuminates both his allure and imperfections. Rogers, with her magnetic stage presence and a voice evocative of a nascent Ella Fitzgerald, is a burgeoning talent destined for Broadway acclaim in BOOP! The Musical.

Cress Williams is the ominous Chimney Man, who serves as a spectral guide through Morton’s recollections, both confrontational and revelatory, while tap dancer extraordinaire Doran Butler as Young Jelly exudes an infectious energy that captures Morton’s precocious talent. Los Angeles theatre doyenne Karole Foreman, as Gran Mimi, imbues Young Jelly with a sense of pride and ambition that profoundly influences his odyssey.

Jasmine Amy Rogers and John Clarence Stewart

The ensemble members are the heartbeat of Jelly’s Last Jam, melding song, dance, and drama to forge a cohesive and effervescent theatrical experience. Their dynamic choreography, particularly the tap sequences, not only showcases their technical prowess but also the historical tapestry of the jazz epoch.

Mr. Gash’s directorial acumen is the keystone of this ambitious endeavor. He adeptly weaves together humor, pathos, and tragedy, ensuring that each element amplifies the others. His vision for the production fosters a narrative coherence that invites the audience to engage with Morton’s story on a multitude of levels.

Doran Butler and Karole Foreman

At the core of Jelly’s Last Jam lies its music’”an homage to Morton’s ingenuity. The score, replete with Morton’s own compositions, is a jubilant homage to ragtime, blues, and the nascent jazz genre. The arrangements by Luther Henderson — the genius behind Ain’t Misbehavin’ — honor the original works while infusing them with a theatrical verve, resulting in electrifying and poignant musical numbers. Susan Birkenhead‘s lyrics are pivotal, encapsulating Morton’s multifaceted nature and the zeitgeist he inhabited.

Janaya Mahealani Jones, Naomi C. Walley, and Cyd Charisse Glover-Hill

The 10-piece band, under the celebrated Broadway musical director Darryl Archibald’s expert direction, delivers an extraordinary performance, navigating complex rhythms, rapid tempo changes, and intricate harmonies with finesse. Each musician shines, from Abdul Hamid Royal on piano channeling Morton’s style to the brass and woodwind players injecting energy into every number. The drummer anchors the musical performances with precision and verve. The band’s performance is a testament to their individual talent and cohesive synergy, elevating the production to new heights. Sound designers Danny Erdberg and Ursula Kwong Brown ensure a pristine auditory blend of vocals and instrumentals.

The Ensemble

Dell Howlett’s choreography is a visual feast, capturing the era’s exuberance and spontaneity. Drawing from period dance styles, such as ragtime, cakewalk, and slow drag, the sequences are lively and intricate, enhancing the narrative and adding layers of meaning to the performances. Tap is used extensively throughout the show, serving as a powerful medium to convey the rhythms and improvisational spirit of jazz. The tap numbers are not only entertaining but also narrative-driven, often highlighting key moments in Morton’s life and career. The choreography incorporates intricate footwork, syncopated rhythms, and expressive movements, showcasing the dancers’ technical prowess and the genre’s historical roots in African-American culture.

The Ensemble

The musical is not perfect. George C. Wolfe’s libretto is its weakest point. The second act feels stunted and brief with a pat ending, breaking up the overall pacing and development of the story. And the visual elements are not as striking as the performances. Edward E. Haynes, Jr.‘s spare cheap-looking sets intermittently enhanced by neon signs and the consistently underlit stage (lights by Rui Rita) don’t quite transport the audience from the bustling streets of New Orleans to the sophisticated nightclubs of Chicago.

Despite my quibbles, Jelly’s Last Jam is a triumph. It transcends the bounds of a biographical musical; it is a contemplation on identity, creativity, and the quest for acknowledgment in a racially divided world. It probes the internal and external challenges faced by Morton, mirroring the broader struggles of African-American artists of the era. For connoisseurs of jazz, Black history, or the enchantment of live theatre, this is an unmissable experience. It serves as a reminder of the opulence of American musical heritage and the intricate figures who sculpted it, leaving the audience with enduring reflections long after the final note has faded.

photos by Jeff Lorch

Jelly’s Last Jam
Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena
ends on June 23, 2024
for tickets (starting at $40), call 626.356.7529 or visit  Pasadena Playhouse