Jamming ‘Jelly’ pushes tapping, non-stop fun to hilt
Wolf’s acclaimed, astounding musical stops in Los Angeles for
limited engagement
By Jennifer Richmond
Daily Bruin Staff
The members of The Jungle Inn are patiently waiting for their
newest member, Jelly Roll Morton (Maurice Hines) to make his grand
entrance in "Jelly’s Last Jam."
But what appears to be just another ’20s speakeasy, actually
turns out to be a sort of courtroom "somewheres ‘tween heaven ‘n
hell."
Jelly, a jazz legend in his own mind, is about to be put on
trial by other-worldly spirits  and the verdict will either
get him life in heaven or hell.
The Chimney Man (the foreboding guide and judge on Jelly’s tour
ominously played by Mel Johnson Jr.) explains the situation to
Jelly, who treats the audience to a wonderful toe-tapping whirlwind
tour of his life from youth through adulthood as he "invents jazz"
and discovers he’s not the greatest thing to happen since the
invention of music.
Hines fills Jelly’s shoes like no one else. He’s got all the
bravado and egotism necessary to play this real-life-figure to the
hilt. Watching him,it becomes obvious why Jelly was shut out and
why he must play and dance for his soul.
And dance he does, in fact Hines and his alter ego, Savion
Glover (playing Jelly as a young man), dance up a storm.
They find themselves tapping so much, it degenerates from
spectacle to stampede. Their dance numbers begin to feel as if
they’re only pandering to the audience, as if the routines were
extended solely to show off Hines’ talent. And while his talent
deserves a little extra time, too much appears self-indulgent.
But aside from the too-often, too-long tap sets, Hines ability
to act replaces these annoyances. In several scenes he reveals why
he’s playing this jazz legend.
Right before the opening of Jelly’s new club, The Midnite Inn,
he proves how big his head has gotten by making his best friend and
partner, Jack (a wonderful Stanley Wayne Mathis) be his "nigger in
a red coat." In other words, Jack has been given the prestigious
job of doorman while Jelly gets all the glory. His biting anger
comes through loud and clear provoking groans of disgusted shock
among audience members.
This, along with his final scene before his murder are both
gut-wrenching.
Within these two scenes the audience is shown two sides of a
fallen man; the first, when’s he’s at the top and the second, when
he’s hit rock bottom but has too much pride to apologize to those
he’s hurt. It’s this latter scene that grants him passage and gains
him respect from the audience.
Just as Hines has several opportunities to prove his known skill
at tap, two of his female co-stars have the opportunity to prove
their known talent for song. Nora Cole portrays Anita with a verve
present in only a few others. While her lust for Hines’ Jelly come
out clearly through her actions, her voice drips with passion.
Her solo, "Play the Music for Me," leaves audiences breathless
and gives both Jack and Jelly a desire they never knew they had.
But it’s not just her voice that engages viewers, her dry sarcasm
and wit also gains her an already devoted audience.
While Cole’s Anita exudes sex and lust, Freda Payne’s Gran Mimi
exudes hatred and disgust for her Creole grandson. Payne, an
accomplished singer in her own right, refuses to let an eager
audience down.
Her solo, "Get Away Boy," bowls over those unfamiliar with her
work and fulfills the expectations of those familiar with her
talent. She has a presence that demands respect.
Unfortunately, while there are these few shining lights, there
are several blown bulbs in this production. For much of the first
act the lyrics to several songs are muffled by the loud
accompanying music. It’s a shame, because the speedy production,
suddenly comes to a screeching halt when lyrics are rendered
inaudible.
Blemishes aside, Hines and the rest of the ensemble don’t give
you a chance to be disappointed with the production or their
performances. They manage to astound regardless.
"Jelly’s Last Jam" Â "that’s (definitely) how you
jazz."
STAGE: "Jelly’s Last Jam." Book by George Wolf. Lyrics by Susan
Birkenhead. Music by Jelly Roll Morton. Directed by George Wolf.
Starring Maurice Hines, Savion Glover and Freda Payne. Running
through Jan. 29 at the Pasadena Civic Auditorium. Performing
Tuesday through Saturday at 8 p.m., Sunday at 7:30 p.m., Saturday
and Sunday matinees at 2 p.m. TIX: $45-$27.50. For more info call
(213) 480-3232.