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Shows · Jelly’s Last Jam

Jelly’s Last Jam

Opened 1992

569 performances

Musical, Megamusical

Gregory Hines, who was in the 1992 production.
Gregory Hines, who was in the 1992 production. Kingkongphoto & www.celebrity-photos.com from Laurel Maryland, USA

Unlike other “and then he wrote” biographies of composers, Jelly’s Last Jam not only explores the music, but also explores the man. In the opening scene Jelly Roll Morton (Gregory Hines) is at death facing the Chimney Man (Keith David), the “concierge of your soul,” who accuses Morton of having denied his African heritage and of believing that he invented jazz. He forces Morton to re-examine his life and to possibly save his soul. In a series of flashbacks led by the Hunnies (Mamie Duncan-Gibbs, Stephanie Pope and Allison M. Williams), Jelly’s life and sins are revealed. Gregory Hines’ brilliant and likable performance softened some of the bragadoccio and cruelty of the man. George C. Wolfe has said “we are all mutts here. We reinvent ourselves striving for some sort of purity.” Ferdinand Joseph Le Menthe Morton, a middle class, light skinned Creole of color who disdained darker skinned blacks, reinvented himself to deny his race (“ain’t no coon stock in this Creole”), but he absorbed all the culture and street sounds of New Orleans and expressed them in his own music. Keith David was replaced by Ben Vereen during the run, Gregory Hines by Brian Mitchell. Jelly’s Last Jam. Keith David and Gregory Hines (Martha Swope)

Music
Jelly Roll Morton, musical adaptation and additional music composed by Luther Henderson
Lyrics
Susan Birkenhead
Book
George C. Wolfe

Productions1 on Broadway

1992
Virginia TheatreBroadway Original, opened April 26, 1992, directed by George C. Wolfe
569 performances

Songs15 songs

Jelly’s Jam, In My Day, The Creole Way, The Whole World’s Waiting’ to Sing Your Song, Lonely Boy Blues, Michigan Water, Something More, That’s How You Jazz, The Chicago Stomp, Play the Music for Me, Lovin’ Is a Lowdown Blues, Dr. Jazz, Good Ole New York, Too Late Daddy, That’s the Way We Do Things in New Yawk

The problem with musicals now is the same as the problem with plays: size. Economics now favor only the big.

GREGORY HINES. Broadway Babylon Boze Hadleigh, p. 123

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