Held together with a pretty fat-free book by the late, great Terrence McNally, Ragtime is a proudly American epic in every sense of the word. But It has always struck me that this is really the masterpiece of Stephen Flaherty (music) and Lynn Ahrens (lyrics); the entire no-skips score is a sweeping collection of grand, broad strokes and deeply affecting intimate moments. Though it is probably sacrilege to say that the original production was more satisfying as a cast recording than a piece of theater. With every moment being presented as an extravaganza, the whole thing felt like an extended performance of that American pavilion show at EPCOT. Fortunately, and at long last, a fresh re-examination of the musical has embraced the larger political ideas and the smaller human revelations. The revival which opened last night at the Vivian Beaumont has given us the production that this living piece of art deserves.
Director Lear deBessonet makes a fabulous debut as head of Lincoln Center Theater, with a glorious production with stunning staging moments throughout. She creates a constantly moving swirl of humanity, mirroring an America in transition as conflicting points of view clash, make their peace, and ultimately move the needle forward. That's not to say there aren't times when the pace slows for moments of introspection, when performers stand still and tear into what amounts to arias. Ellenore Scott's choreography is thrilling and character-based. Some of my favorite numbers are when the dancing and staging coalesce, making full use of the enormous stage space, including a judiciously used turntable This is a fully realized production that surpasses its storied original presentation.
The main cast, of course, is more representational. Brandon Uranowitz gives a poignant portrayal of Tateh, an immigrant determined to do whatever it takes to make a living and provide for his daughter (Tabitha Lawing). Perhaps some of the power in his performance comes from the current climate, but he is both heartbreaking and uplifting as he rises from poverty to affluence.
Representing the white experience of influence and privilege is The Family from New Rochelle, with Father (Colin Donnell), a demanding man with wanderlust, Mother (Caissie Levy), the kind, liberal matriarch who keeps everything together with little help, Grandfather (the hilarious Tom Nelis), the sharp-tongued realist, Mother's Younger Brother (Ben Levi Ross) and the Little Boy (the charming Nick Barrington). As a unit, they anchor the piece, interacting with everyone in society. Individually, they are an embarrassment of riches. Ross is compelling as a young man lost and in search of an outlet for his passions, eventually radicalizing and becoming dangerous. Donnell successfully navigates a tough role that has him wearing his misogyny and bigoted ways on his sleeve, all while making his eventual awareness plausible. But it is Ms. Levy who nearly steals the show with her moving, brilliantly sung Mother. Her "Back to Before" is simply exquisite. Could this win her that evasive Tony Award nomination and maybe even a win? I wouldn't be at all surprised.
Finally, representing the African-American experience at the turn of the 20th Century, with its fight for equality and its contributions to culture (hence the title of the show), are a pair of simply stunning performances. The role of Sarah is a complex one, made famous by its originator, and so it is wonderful to report that Nichelle Lewis is never less than remarkable. Her acting is thrilling and her voice soars. The one actor I just knew was going to be spectacular from the second he was announced as Joshua Henry as Coalhouse Walker Jr. He did not disappoint; he was pretty much perfect. The way he used his swagger and confidence to go after everything he wanted was entirely compelling, but what really made Henry's star turn was how he managed to convey the humility and fear that the cockiness was covering. His duet with Ms. Lewis, "Wheels of a Dream" was a tour de force, but it is his masterly rendition of "Make Them Hear You" was the showstopper of the evening. I see many awards in his future for this.
At last, Ragtime has been given its due with a production worthy of its writing. One of Broadway's best revivals ever, it is not to be missed.
📸: M. Murphy
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