JELLY’S LAST JAM AT PASADENA PLAYHOUSE

The tap-dancing alone is worth the price of admission to this revival of the Broadway musical Jelly’s Last Jam at the Tony Award-winning Pasadena Playhouse.

Before the curtain, I met up with a trio of former tappers, (which, to a much lesser degree, I am myself,) and we discussed how we were looking so forward to witnessing that fabulous art in a few minutes. And we were not disappointed! During the show, I kept thinking of how my old friend, the late, great Fayard Nicolas of the Nicholas Brothers, would have loved how this skillful cast plied their trade. (He hated when tap dancers hunch over.)

The Pasadena Playhouse is actually the perfect place to see a show like this one. The big-but-not-too-big stage, with no very-far-away seats, make it an excellent venue for such excellent dancing by so many talented performers.

The action of Jelly’s Last Jam is that real-life musician and composer, Jelly Roll Morton, has died and is recounting his life to a mysterious otherworldly man, (billed as Chimney Man, for perhaps some significant reason that eluded me,) in a bid to decide if he’s going to heaven or hell. At least I think that’s what is happening; I have to admit that my friend and I didn’t know what was going on half the time. (We even disagreed about what was happening in some of the key relationships.) I didn’t really care, though, because I was just enjoying the music and especially the dancing, of course. I wasn’t expecting a proper history lesson; rather just a reminder to revere the prolific composer, whose music and style is still lasting today. It’s always good for subsequent generations to learn about important artists that came before, so that aspect of this tale is wonderful.

But I was also a bit confused by time and place occasionally, mainly in the second act. I thought Jelly Roll was in New York at one point, and then all of a sudden, the characters say they’re in LA! And the show just ends abruptly. He begins walking towards heaven or hell, (even though I don’t think anyone cares which it is, I’m not naming it here, just in case,) and the music peters out! There’s not even a fanfare. The audience I was with didn’t know whether to clap or not because we didn’t know if it was over until all of a sudden, the cast was taking its bows.

From my post-show research on his life, I don’t believe that this stage scenario is really the entirely true story of his life. Jelly Roll Morton lived from 1890-1941, and the musical was written by George C. Wolfe in the early ‘90s, so I doubt that anyone really knows the whole truth of what happened a century ago! (So, if the saga whets your appetite, make sure look it up for yourself.)

Perhaps the reason this show is rarely revived is that it’s such a gargantuan undertaking. It features a big seventeen-person cast, all excellent in this case.

The casting of the grown-up (John Clarence Stewart) and younger (Doran Butler) versions of Jelly is spot-on. As a matter of fact, Doran’s tapping was the highlight of the show for me. I noticed everyone sitting up a bit straighter in their seats whenever he did even a few steps for us. And I don’t know how John dances several times with all that wardrobe on. He must lose ten pounds a performance!

I enjoyed seeing a couple of familiar faces whom I’ve reviewed positively in other productions around town recently. I lauded Wilkie Ferguson II in Fetch Clay, Make Man at the Douglas last year, and Summer Nicole Greer in Million Dollar Quartet just three months ago. (I had also seen her in the hilarious 44: The unOfficial, unSanctioned Obama Musical.)

The cast member with whom I was most familiar, though, is Cress Williams, who plays Chimney Man. He was a regular one of my old favorite TV shows, Hart of Dixie. (Don’t judge! I’m a CW kind of gal!) Seeing him again reminded me that I need to watch the finale of the series already, and face that it really did end.)

As far as the music in Jelly’s Last Jam goes, the show uses much of Jelly Roll Morton’s own compositions in the narrative, (but this is far from a “jukebox musical,”) which is all fun to hear, especially a number from Jasmine Amy Rogers as his love interest. And I adore that the orchestra is on stage. It’s a pretty visual, and a good surprise when they’re revealed.

I had seen the original pre-Broadway production right here in L.A. at the Taper many moons ago. I didn’t remember caring much about it then, but that was before I switched from reviewing on TV to doing so in writing, so I don’t have proof of my thoughts. (Well, I do, but I have no idea how to play DVDs anymore!) I asked one of my friends why he hadn’t liked the show back then, and he deadpanned, “Too much bouncy piano,” which made me laugh. Yes, there is a lot of bouncy piano in this show, but that’s part of what makes it special. (For most of us!)

My only real problem with the presentation, (which I’m sure is the fault of the original production,) is that intermission should definitely come right on the heels of the big tap number in Scene 4 or 5 of Act I, not another half hour and two or three scenes later. That loses the steam it had built-up in the audience. And it makes the first act soooo long that I noticed people fidgeting. (If it would end when I suggest, then the two halves would be of equal-ish length, and it would be easier to discern what is going on in Act II.)

A big part of Jelly Roll’s life was that he was Creole, which made him a very light-skinned black man, and led to some inter-race hatred back then. So I understand that what I’m about to discuss is considered necessary to the narrative, but I detest hearing the N-word ever, even when being said between people of color. (And even when it’s on stage and not in real life.) So I bristled every time one of the characters uttered it.

But then I remembered that I’m shallow, so I cheered myself up by looking at my fingernails, which I had polished the shade of grape jelly as my own tiny tribute to the show.

None of you have to go that far, of course; just bring a smile and some admiration for the entire experience. (And maybe some tap shoes, to start emulating the dancers right away on your way out.)

Jelly’s Last Jam running through June 23, 2024
Pasadena Playhouse 39 South El Molino Avenue, Pasadena
626-356-7529 www.pasadenaplayhouse.org