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We saw this show last Sunday. I had been curious about it ever since seeing the TV commercial with the whole company performing outdoors in what was my former workplace. I knew the cast was terrific, but I had reservations that it was staged by Lear DeBessonet, now the head of Lincoln Center Theater. I did not care for how she handled "Oliver!" at ENCORES, and I was afraid she would ruin "Ragtime" more than I felt it had been.
I admit I have a problematic history with this show. The E. L. Doctorow novel on which it is based is one of my favorites. So much so that, when I first heard Robert Altman was to direct the movie version, I was on cloud nine. But that fell through, and I refused to see the Milos Forman film version of 1981. I still feel only Altman could have done "Ragtime" justice.
I saw two previous productions. I saw the original at the tail end of its run, and I am sorry to say no one in it was memorable, and the performers seemed to be walking through the performance, so it was lackluster. There was a revival in the early 2000s, featuring Christiane Noll, whose father, a musical director, I had worked with in "The Pajama Game" in 2001. She was good, but in retrospect brought nothing to the role.
This "Ragtime" started as a concertized version at The New York Philharmonic. At the time I asked why? Then it became such a hit it moved to its current occupancy, The Vivian Beaumont Theater, next door to my former workplace.
Allow me some humble pie. Lear DeBessonet's staging of this production more than compensates for her miss with "Oliver!" "Ragtime" begins on a dark stage, with the title in lights hanging above it. The lights go down, the stage lights go up, and a little boy runs across the stage. Then another begins the story of the New Rochelle family. Then slowly, inexorably, like the dancers in "A Chorus Line," the entire company is elevated to upstage center, assembled and ready to sing. They sing, they form combinations suggesting their stories will all interconnect, which they do, and while I always loved the opening number, I have never seen it staged as beautifully.
That's just for starters. Joshua Henry was out that week. I had seen him in the 2018 "Carousel," so I know what he can do. His replacement, John Clay III was every bit up to the level of Henry, and his and Kayla Pecchioni as Sarah's rendition of "The Wheels Of A Dream" not only stopped the show but brought tears to my eyes. I had never shed tears for this show before.
But the real anchors of this show are Caissie Levy as Mother, and Brandon Uranowitz as Tateh. By the way, the story of he and his daughter may resemble another musical, 1986's "RAGS," which I still say has the superior score, but "Ragtime" is more embracing of all cultural intersections into America at the turn of the century. Levy's is a powerful presence on stage, as is her singing, especially in the second act song, "Back To Before." I am glad this gifted actress, whom I first saw do Sheila in the 20099 "HAIR," was recognized with a TONY Award. Uranowicz breaks your heart every time he is on stage, as does Pecchioni as Sarah. And there is also "SUFF's" Shaina Taub as Emma Goldman, Ben Levi Ross as Younger Brother, Morgan Marcell as Evelyn Nesbit, and Rodd Cyrus as Harry Houdini. Part of this "Ragtime's" success is the great cast that has been assembled. I urge you to see them before the show closes in August.
I cannot say I now embrace the score, but I recognize more its quality and how it functions in relation to the story. Some of that comes from DeBessonet's staging, and the exquisite cast. I may not listen to a CD of this show, or sing any of its songs, but I will remember this production with special affection, as it made me appreciate "Ragtime."
This "Ragtime" is all that is promises and is as definitive a production as ever will be done.
Girls, I strongly urge you to see it!!!!!!!!!!!!!!!!!!!!!!!!!!!
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