A vivid, impressionistic portrait of legendary jazz pianist Jelly Roll Morton, the original 1992 Broadway production of Jelly’s Last Jam secured national recognition for writer/director George C. Wolfe (Shuffle Along, Angels in America), as well as nine Tony nominations, three wins, and a Drama Desk Award for Outstanding Book.
Now, visionary director Robert O’Hara (A Raisin in the Sun) takes up the mantle of this wildly imaginative show that interrogates the self-declared “inventor of jazz” in a purgatorial afterlife, accusing him of denying and denigrating his cultural legacy. With showstopping numbers like “That’s How You Jazz” crafted by lyricist Susan Birkenhead (Working) and composer Luther Henderson from Morton’s own music, Jelly’s Last Jam captures the profound contradictions behind the artist’s explosive talent. Brilliantly utilizing two of this country’s most potent forms of storytelling—jazz and musical theater—Jelly’s Last Jam weaves a complex fable of American history, legacy, and truth.
The show’s physical production is equally first-rate. Clint Ramos’ nightclub set is dominated by an art-deco style door that is both inventive and terrifying, if you look closely; its only drawback is that there may not be quite enough dance floor for this unusually large ensemble. Dede Ayite’s costumes, as is consistently the case, are both stunning and period-appropriate (although I suspect Porter’s gender-bending outfit may have come from his own closet) and Adam Honore’s lighting design truly shines brightly. (The sound design, by Megumi Katayama, does need a bit of fine-tuning.)
Playing the bejeweled angel, Porter is, well, Porter: flamboyant, loud and often downright obnoxious. In the beginning, he nearly wipes the stage with Christopher, who enters with his back to the audience and doesn’t seem to know that he’s being radically upstaged. Fortunately, there’s genius in that approach to playing Morton, who never seems to care what we think of him. Porter demands our attention, Christopher earns it in a slow-burn performance that ends in Morton’s grand self-immolation.
1985 | New York |
Workshop New York |
1991 | Regional (US) |
World Premiere Regional (US) |
1992 | Broadway |
Original Broadway Production Broadway |
2006 |
Alliance Theatre Production |
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2024 | Off-Broadway |
Encores! Concert Revival Production Off-Broadway |
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