Review: Signature Theatre's JELLY'S LAST JAM is a Stylish and Swanky Affair

Washington in August has a reputation for being unbearably lethargic and mind-numbingly slow. Thankfully the jazz gods have presented us with a musical that is anything but that. Signature Theatre's Jelly's Last Jam is a stylish and swanky affair that radiates with soulful energy.

Mark G. Meadows may not be a familiar name to the casual Washington theatergoer, but he will be after this production. Making his Signature debut with Jelly's Last Jam, the Duke Ellington School for the Arts Jazz Teacher takes on the role which won Gregory Hines a Tony Award, giving a charismatic and effervescent performance. Equal parts arrogant and brilliant, Jelly is a complicated, prideful character which Meadows tackles with skill.

One of the earliest known jazz musicians, Jelly often boasted for having invented the art form. In Jelly's Last Jam, he finds himself in the Jungle Inn, a nightclub somewhere in between heaven and hell. There, he has to plead his case to a mysterious heavenly gatekeeper, the Chimney Man (Cleavant Derricks). In addition to addressing his jazz claims, Jelly must also atone for renouncing his ancestry and identity.

The life in review plot device is nothing groundbreaking and yet, George C. Wolfe's book is often rushed and uneven. Act II seems like an afterthought compared to the energetic first act which is laden with biographic details. The second act merely leaves you hungering for more details as to Jelly's later years, something I googled immediately upon returning home following the performance. That being said, Wolfe does deserve credit for addressing the racism inherent in Jelly and the hypocrisy with which he treated others, namely his best friend Jack (Guy Lockard).

However, under the exquisite direction of Matthew Gardiner, Jared Grimes's vivacious choreography, Daniel Conway's elegant art deco set design and Dede Ayite's period-perfect zoot suits and flapper costumes, this production easily overcomes the book's faults. Signature's Max space has been transformed into a swanky nightclub that evokes memories of New York's famous Cotton Club. The nostalgic transformation brings us into the Jungle Inn, allowing us to feel the energy and magnetism that defined Jelly's career.

Of course no good club is complete without a fantastic band, in this case under the spirited direction of Darius Smith. Morton's music, combined with Susan Birkenhead's lyrics, come alive with a joie de vivre, immediately capturing the spirit of jazz thanks to the seven piece orchestra located above the stage. Adding to the energy is Meadows, who is a talented pianist as well, playing with great showmanship - something the real Jelly Roll Morton would have loved.

Meadows is joined by a cast of DC and Broadway regulars. Derricks, a Tony Award Winner for Dreamgirls, seems to relish the enigmatic nature of the Chimney Man, a character akin to Pippin's Leading Player or Cabaret's Emcee. As the musical's conscience, Derricks commands the show with a deep, rich voice that resonates as the ultimate authority on Jelly's fate.

Felicia Boswell gives this production added flair as Anita, Jelly's onetime lover and singer. With a silky voice and spirited personality, we see why she was the one who captured his attention and the one he never forgot.

Lockard's character's nickname is 'The Bear' which, despite being taken from a gangster, best describes his character - a lovable, devoted teddy bear. He suffers the most from Jelly's insecurities and Lockard channels that into the show's most powerful moment.

Signature regular Nova Payton once again turns in a dazzling performance with dual roles, Miss Mamie and one of the Hunnies (played by Payton, Kara-Tameika Watkins and Eben Logan) a trio of singers that acts like a Greek chorus. With Mamie, the first blues singer Jelly saw perform, Payton gets the chance to show off her soulful side with the Act I's "Michigan Water."

Aside from Boswell's Anita and Lockard's Joe, it is Iyona Blake's Gran Mimi, Jelly's creole-traditionalist grandmother, who proves the most impactful on him. With the dark and unforgiving "The Banishment" Mimi's disownment provides Jelly with the resentment that would fuel not only his career, but life as well. Blake is foreboding in the role and her performance is accented by the black, lace mourning gown she wears throughout the show.

Enough cannot be written about Grime's splendid choreography or the cast's near-perfect execution. Ensemble members Christopher Broughton, DeMoya Watson Brown, DeWitt Fleming, Jr., V. Savoy McIlwain, Olivia Russell, Joseph Monroe Webb and Stephen Scott Wormley give this production an added exuberance with their tap dancing skills in "That's How You Jazz" and "Dr. Jazz." The latter of which is made more profound by the statement on race being made by the vibrant red costume and makeup design satirizing the minstrel shows of the early twentieth century. There's a great irony to Jelly's fate and it's Gardiner's execution of songs like "Dr. Jazz" which make the finale that much more impactful.

I must admit, I was intrigued by Signature's selection of Jelly's Last Jam. It was not a show I'd expect from Washington's leading interpreter of Sondheim, Kander & Ebb and new musicals. And yet, with Jelly's Last Jam Signature once again proved its ability, and that of its skillful director Matthew Gardiner, to bring new life and perspective to a forgotten musical. With this being the start of the 2016-2017 season, I can't wait to watch what else is in store.

Runtime: Two hours and 15 minutes with one intermission.

Jelly's Last Jam runs thru September 11th at Signature Theatre - 4200 Campbell Ave.
Arlington, Virginia 22206. For tickets please call (703) 820-9771 or click here.

Photo: Cleavant Derricks with Kara-Tameika Watkins, Eben K. Logan and Nova Y. Paton. Credit: Christopher Mueller.

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