When E. L. Doctorow was asked where he got the idea for his 1975 novel Ragtime, he said an image had come to him in which a Black man was knocking on the door of a Victorian home in New Rochelle, New York, circa 1902. That’s all it took for him to imagine the potential. So, he created one of the best books of the 20th-century’s second half, a work of genius. Subsequently, producer Garth Drabinsky saw its potential as a musical, bringing together bookwriter Terrence McNally, composer Stephen Flaherty, and lyricist Lynn Ahrens.
Now, as City Center’s Annual Gala Presentation, Lear deBessonet (the Encores! series artistic director, in her final outing before moving to Lincoln Center Theater), has presented Ragtime in a concert version which fully demonstrates the musical’s brilliance.
[[as yet another work of genius. Without question, this is the best Manhattan sighting of a musical on a New York City stage since the January 1998 Ragtime opening. (Why no musical since Ragtime has even come close to its brilliance is a column for another time.)
[Read Melissa Rose Bernardo’s ★★★★★ review here.]
Once again Doctorow’s depiction of an America made of diverse, alienated populations unfolds—an already well-established white community, a subjugated Black community, turn-of-the-century immigrants. They’re introduced at a distance in the first number and then, as staged by deBessonet and choreographer Ellenore Scott, slowly integrated, foreshadowing Doctorow’s elaborate depiction of the changing pre-World War I American landscape.
Most prominent among those uniting or failing to unite are Coalhouse Walker Jr.(Joshua Henry), love of his life Sarah (Nichelle Lewis), increasingly dissatisfied New Rochelle Mother (Caissie Levy), increasingly estranged Father (Colin Donnell), young and sometime psychic son (Matthew Lamb), ambitious immigrant and silhouette artist Tateh (Brandon Uranowitz) and daughter (Tabitha Lawing).
Since Doctorow was unleashing a political work—long a resolute goal of his—he also incorporated historical figures like rabble-rousing Emma Goldman (Shaina Taub, on loan from her Suffs). More headline names showing up are girl of the new century Evelyn Nesbit (Stephanie Styles), celebrated escape artist Harry Houdini (Rodd Cyrus), J. P. Morgan and Admiral Perry (John Rapson), and Henry Ford (Jeff Kready). Booker T. Washington (John Clay III) puts in a significant appearance, too.
All the above fictional and real characters—McNally is scrupulously faithful to the Doctorow’s plot—cleverly interact as Coalhouse, already a recognized musician in his narrow milieu, becomes increasingly politicized by the racist treatment he, Sarah, and their infant son endure (other than their acceptance by the Mother in New Rochelle).
Like revolutionary sparks igniting, many of them fanned by Emma Goldman over the two intensifying acts, deBessonet and Scott keep the action unflinchingly focused, the musical’s tragic outcomes reached, then leading to a unifying cathartic conclusion—all this taking place on David Rockwell’s elegant spare set under Adam Honoré equally elegant lights and with Kai Harada’s unusually clear sound. (During act one Rockwell projects various images of a waving American flag with its stars floating wildly. It’s a smart metaphor.)
But oh, the music! Oh, the Ahrens-Flaherty ragtime-underpinned score, here impeccably conducted by James Moore with composer Flaherty’s vocal arrangements! To start on a collection that practically calls for a dissertation, an instant comment arises: There isn’t a single song that misses its mark. Which raises an immediate rhetorical question: Can as much be said of any recent Broadway musical entry?
From the opening title tune, what will transpire is established right down to a line chanted by the white contingent, “There are no Negroes.” Lyricist Ahrens quickly lets spectators know where they are and what they’re in for.
Begun as a solo for Father, who’s baffled by changes around him, “New Music”—shared then by others and ending with the entire cast—is the first of several numbers that have the audience not only applauding at length but cheering. The number may be the evening’s seismometer winner. Other competitors are first-act closer “Till We Reach That Day” and the finale, “Let Them Hear You.” Henry, singing throughout with an exuberant bass/baritone, leads that one—Tiffany Mann wails on the former.
As a matter of indisputable fact, whenever Henry lets go, he further excites the already excited room. That’s on his solos and his duets with Lewis, most notably “Wheels of a Dream.” Levy gets her biggest ovation on “Back to Before.” Uranowitz gets his with “Buffalo Nickel Photoplay Inc.” Styles (Nesbit’s husband Harry Thaw shot her lover Stanford White), connects on “Crime of the Century.” (Perhaps the only flaw in an otherwise perfect production is that Styles sits on the swing but never swings.)
It’s not necessary to itemize every musical routine in this phenomenal show and how well it’s carried out. From Henry to Levy to Lewis to Uranowitz to Taub to Donnell to Ben Levi Ross as Mother’s explosives-knowledgeable brother to youngsters Lamb and Lawing to Jacob Keith Watson as the script’s leading hate-mongerer, they all etch performances that Doctorow himself might have praised.
About this extraordinary Ragtime revival, there’s a larger observation to be made. It impresses as having been reinvigorated for this election week. Doubtless, it was intended as such. Unfortunately, Doctorow’s novel deals with American problems yet to be resolved—racism, division, disdain for immigrants(!), too many et ceteras. The reasons to see Ragtime right now couldn’t be more pressing.
Ragtime opened October 30, 2024, at City Center and runs through November 10. Tickets and information: nycitycenter.org
