The "Ragtime" revival even surpasses the original production
A sweeping musical adaptation of E. L. Doctorow classic novel published in 1975, “Ragtime”, has returned to Broadway for a limited engagement at the Vivian Beaumont Theater in a visually superb revival that surpasses in this new lavish production the original one seen to great acclaim in 1998, and a previous revival in 2009. Ambitious in scope and operatic in execution, it stands out in every way as a show in the grand Broadway musical tradition, remarkable and profoundly striking, with an outstanding cast in solid performances delivering songs that are tuneful and memorable.
Set at the dawn of the 20th century, “Ragtime” deals with issues – blatant racism, the plight of immigrants – that are as valid today, given the current political climate, as they were then, something that makes it even more relevant now than it was when it made its first impression. The action centers around characters from three ethnic groups who are struggling for survival and dominancy in the young industrial country: a white Anglo-Saxon elite family already politically seated and very much in control of the country’s economic resources, consisting of an explorer set to go to the North Pole, his wife, and her younger brother, an idealist in search of his own motivations; a struggling Black pianist, Coalhouse Walker, who finally emerges from the depths of poverty thanks to his musical talent, and Sarah, the girl he loves and the mother of their baby boy; and Jewish immigrants, from whose midst comes Tateh, an artist who invents the “moving” book for his ailing daughter, before becoming a movie mogul himself. The disparities and antagonisms between the three groups is at once clearly established in the show’s opening number, “Ragtime”, a kaleidoscopic vision unfolding to the syncopated strains of the popular music on the vast stage of the Vivian Beaumont.
Punctuating the various moments in the action, real historical figures like the great illusionist Harry Houdini, Evelyn Nesbit who found notoriety after her lover shot her husband, and J. Stanford White the famous architect, offer their own comments about the American dream, seconded by others who have also left their mark in American history like J.P. Morgan, Henry Ford, and Booker T. Washington. Their presence seems occasionally relevant, but they mostly present themselves as name-dropping characters in a show that certainly doesn’t need this kind of attention to make its mark. In many ways, the cast is particularly relevant, with Joshua Henry impressive as Coalhouse Walker, Nichelle Lewis as Sarah, his wife, Caissie Levy remarkable as Mother, and Brandon Uranowitz as Tateh, the Jewish immigrant.
The show is illustrated by the memorable score created for this occasion by Stephen Flaherty (music) and Lyn Ahrens (lyrics), with a catchy mixture of musical numbers, including several which embrace the ragtime tones heard at the time, romantic ballads and spectacular ensemble numbers, among which “A Shtetl Iz Amereke”, “New Music”, “Till We Reach That Day”, “Sarah Brown Eyes” and the title track truly stand out. Lear deBessonet’s fluid direction and Ellenore Scott’s eloquent choreography of the musical numbers are definite assets.
A magnificent theatrical effort, “Ragtime” tends to be a bit too long, but it still remains a dazzling spectacle; behind the gloss that might have lifted it above the norm and made it a resounding success it certainly stands miles above much of what is usually seen on Broadway.
Musical Direction: James Moore • Direction: Lear deBessonet • Choreography: Ellenore Scott • Sets: David Korins • Costumes: Linda Cho • Lighting: Adam Honoré • Projections: 59 Studio • Sound: Kai Harada • With: Joshua Henry (Coalhouse Walker, Jr.), Caissie Levy (Mother), Brandon Uranowitz (Tateh), Colin Donnell (Father), Nichelle Lewis (Sarah), Ben Levi Ross (Mother’s Younger Brother), Shaina Taub (Emma Goldman), Anna Grace Barlow (Evelyn Nesbit), John Clay III (Booker T. Washington), Rodd Cyrus (Harry Houdini), Nick Barrington (The Little Boy), Tabitha Lawing (The Little Girl) and others
Cover photo: Matthew Murphy