The New York City Center (NYCC) is celebrating its 80th anniversary, the ENCORES! Series is celebrating its 30th anniversary—what better way to do it than by presenting incredible theater, and that is what is happening right now at NYCC on W. 55th Street as it presents George C. Wolfe’s jazz musical masterpiece, “Jelly’s Last Jam.”
This production is an absolute delight from start to finish. Wolfe’s production, which features music by Jelly Roll Morton, focuses on the life of Morton, a Creole jazz performer who thought highly of himself. It is not until after his death that he has to come to grips with the fact that he was not the creator of jazz and he has to give credit to those who came before him.
Wolfe’s musical is intensely performed and shows the harsh reality of colorism that exists in the Black community. Wolfe shows that Creole Jelly Roll Morton thought himself better than other Blacks who did not have his light complexion. He is portrayed as a man who was conceited, a womanizer, and someone who felt superior to darker-complexioned Blacks.
I love how the character Chimney Man represents the ancestors. He is the one who has to bring Morton to the reality that his life was not what he thought it was. Chimney Man takes Morton to task after Morton has died—”Jelly’s Last Jam” is Chimney Man going over the full story of Morton’s life.
That life included losing his parents, being raised by a proud Creole grandmother, embarrassing his family, and being disowned. Morton had a tough beginning, but managed to make something of himself as a musician and singer.
He grew up not receiving love and therefore not understanding how to give it. When it came to love, Morton was involved with a club owner named Anita, but his conceit got the best of him and he managed to ruin that relationship. At first, he found himself to be the next big thing, but as time went on, things changed, people moved on to new music and he found himself struggling to survive. His conceit, womanizing, and arrogance would prove to be his downfall.
He also treated people cruelly and did so without remorse.
George paints a vivid picture of the separation that truly does exist in the Black community based on a person’s complexion. It has always been an issue and sadly will always be one.
This musical is full of fantastic music, phenomenal jazz singing, and some of the most sensational, tantalizing tap dancing you will see on a stage.
This cast is splendid. Billy Porter is stunning as Chimney Man—he is in rare form on that stage. Porter delivers his character with respect, humor, and intensity.
Joaquina Kalukango delivers on all thrusters as Anita. Her voice is superb. She is always a delight to experience.
John Clay III is perfect as Jack the Bear. He delivers the character with a lot of heart.
Nicholas Christopher shines in the title role of Jelly Roll Morton as an adult and is accompanied by a very capable Alaman Diadhiou who plays Young Jelly.
The one and only Leslie Uggams plays Gran Mimi and let me just say, that lady has still got it! Her voice is amazing, a vocal instrument that rises to the occasion in grand fashion.
Tiffany Mann blows the audience away as Miss Mamie. Her voice is stupendous.
It is incredibly marvelous to experience the original Hunnies portraying their roles as the chorus assisting in moving the story along. These ladies—Mamie Duncan-Gibbs, Stephanie Pope Lofgren, and Allison M. Williams—look and sound fantastic.
Okieriete Onaodowan delivers a smooth, mesmerizing performance as Buddy Bolden.
The ensemble members of this production are extraordinary. Their tap dancing skills and those of members of the lead performers are what showstopping numbers are made of, and there were quite a few of those moments.
This engaging production features lyrics by Susan Birkenhead, musical adaptation and additional music composed by Luther Henderson, score consulting by Daryl Water, choreography by Edgar Godineaux, tap choreography by Dormeshia, scenic design by Clint Ramos, costume design by Dede Ayite, lighting design by Adam Honore, and sound design by Megumi Katayama. The fascinating direction of Robert O’Hara made everything come together in a funny, captivating, and cohesive production.
You only have until March 3 to come and enjoy. For more information, go to NYCityCenter.org.