What an interesting title- “Jelly’s Last Jam!” It is not about a condiment to be spread on toast. It is about a man, born around 1890 into a Creole New Orleans community and the music he created. It is about Ferdinand Joseph LaMothe, better known as Jelly Roll Morton, the self-proclaimed founder of jazz in the early 20th century. This award-winning show, with the book about his life, written by the brilliant George C. Wolfe, “Jelly’s Last Jam” opened on Broadway in 1992 and is now appearing on the Bristol Riverside stage.
It is called “Jelly’s Last Jam” because Jelly Roll would create no more music. It is his last jam because he is gone… dead, and the mysterious Chimney Man (Forrest McClendon) is about to take him through many of the key moments of his life, from time he was kicked out of his grandmother’s house (his father had deserted the family, and his mother had died) because he was working in brothels in New Orleans, to his friendships and lovers as he moved from city to city performing. We travel with Jelly Roll through his life story.
Jelly Roll Morton was a Louisiana Creole, resulting from a mix of races between African Americans and French White ancestry. The lighter skinned offspring often tried to hide their Black heritage. Throughout his life, Jelly Roll struggled with his color, fearing he wouldn’t be accepted. And at one point, because of his jealousy, he denigrates a Black friend by calling him a nigga.
If you don’t know much about Jelly Roll’s life, you will learn a lot, even though Jelly Roll himself is denying much of the interpretation. He was always a braggart and didn’t like anything negative said about him. Sadly, during his life, he didn’t get the appreciation he deserved.
We see his interaction with Anita, whom he didn’t treat with respect. We see his interaction with the White men who control his bookings. And of course, we hear his music. Sadly, I wasn’t familiar with the songs, and I struggle with hearing the lyrics when the band plays loud, and the mics are not turned up. But I didn’t care because what I was watching on the stage was so mesmerizing. The beautiful dancers were extraordinary. Taps choreographer DeWitt Fleming, Jr. deserve an award for what he did with the many dancers. I could have watched them without the songs. The costumes, designed by Levonne Lindsay were gorgeous! And though the actors sat at the piano miming the playing, upstage was the outstanding piano player/conductor/Musical director, Victoria Theodore, who created these remarkable, musical scenes and played the Jelly Roll songs.
And then there was Jelly Roll himself. Stanley Martin was so convincing in his bravado, his anger, and his passion, that I now understand so much more about this extraordinary musician. The entire cast was first rate but to name the 20 plus actors on stage would make this review too long. Thank you Tyrone L. Robinson for directing this most complicated story and making it a treat to see, learn, and just experience.
Jelly Roll Morton was the piano man long before Billy Joel. Get to Bristol Riverside and see this staging of Jelly’s Last Jam. You’ll be talking about it for a long time. “Jelly’s Last Jam” book by George C. Wolfe, lyrics by Susan Birkenhead, music by Jelly Roll Morton and Luther Henderson, at Bristol Riverside Theatre, 120 Radcliffe St., Bristol, PA 19007, 215-785-0100, brstage.org, thru April 26,, 2026
Philadelphia Theater Reviews by Frank Burd 