A story of stunning human encounters within and around 1906 New York“RagtimeAs Michelle Obama said years later about “Hamilton,” another show that reminded us immigrants that work had to be done, “Ragtime” saw itself as American history.
All participants had something to prove. Canadian producer Garth Drabinskywas an outsider willing to spend all kinds of ridiculous money on everything from huge production values to newspaper ads. Director, Frank Galatiwanted to use the latest stage production techniques that he had worked on for many years in Chicago to prove that E. L. Doctorow's sprawling epic with a three-way narrative, it could become a major Broadway musical. Author of the book Terrence McNally I was itching for ambitions about the form. And rising composers, Stephen Flaherty and Lynn Ahrenswanted to prove that they could work on a larger scale and in different forms: “Ragtime” demanded not only ragtime, but also the music of the shtetl and the plaintive power ballads of a rich white wife, disillusioned with her marriage, but helplessly stuck in time and place.
This memorable production had its flaws, but nonetheless reminded audiences of the great turmoil in America of 1906, reminding audiences that change and the crises it brings are a national constant, but insisting that the future means progress. But in the end, it was the anthem of “Ragtime” that brought him to the attention of many theatergoers, and that's where Lincoln Center's solid new revival wisely places its emphasis.
You wouldn't call now Lear de BessoneThe production is minimalistic, although it began as a gala concert in the city center. But the “rolling wheels of dreams” metaphor no longer propels the show, and de Bessone seems to have made a conscious attempt to avoid bold statements about America in favor of focusing on the small group of people Doctorow imagined so vividly: musician Coalhouse Walker and his lover Sarah: a patriarchal New Rochelle family confused by everything and everyone; and an optimistic Jewish immigrant whose faith in the possibilities of his new home is so unshakable that he desires fame and fortune.
I missed the epic, fundamental metaphor of a country moving forward, especially since there is no clear overarching visual statement in its place. I think intentionally, designer David Korins chose a more psychological and expressionistic approach. There's not much choreography either. The orchestra is the same size as the original (“the biggest on Broadway,” according to the marketing), but the musicians remain hidden under the stage, a telling anti-triumphalist decision. The singers, and therefore the characters, cannot seek solace in the soaring strings, they simply have to trust that they will support them.
Of course, America is in a very different place now than it was in 1998. Watch Ragtime and you'll probably be amazed at how different it is, at least in terms of confidence in our shared future. This Ragtime wants to show something completely different: how Americans invariably struggle with individual disappointment and loss.
That's fair enough. Now is a different time, and all this has always been embedded in the material. Especially the novel.
What's even better is that the new focus plays to the strengths of the empathetic cast, who celebrate the beauty of these famous songs. Joshua HenryThe band's Coalhouse feels younger than usual, less polite, more passionate and, of course, his voice gets a standing ovation. Nichelle LewisSarah is more fragile, which makes her broken optimism especially touching. Like Tatekh, Brandon Uranowitz focuses on energetic joy. It expands the role and makes it even more important to the piece. Both Lewis and Ben Levi Rosswho plays the mother's brooding younger brother, brings a quality to these two characters that I've never seen before. They do the best work overnight; Ross especially fleshes out what was largely a caricature.
Casey Levywhose mother shares the lead role with “Coalhouse Henry,” has the full attention of the Lincoln Center audience as she takes center stage and sings the anthemic “Back to Before,” an 11-hour number that builds and modulates like crazy, the character going from zero to 70 in five minutes. Levy delivers what you expect (as do all of these performers, really), but she also has a sense of humor, a sense that this Mother doesn't believe anything will ever work out.
Ragtime is generous to all of its characters, not unlike Ragtime.Gilded Age“, a TV show with Broadway stars. His fundamental belief in “our children” seems banal today, especially at the end.
But there is still something touching about her conviction that they will have a better life. I mean, Americans look at musicals as hope, right?
