Interludes

THE HANGOVER REPORT – A triumphant return: City Center’s gala revival of RAGTIME lives up to its reputation as one of the great musicals of the modern era

• By drediman
• November 2, 2024
• No Comments

Based on E.L. Doctorow’s 1975 novel Ragtime, the seminal and beloved 1996 musical adaptation of the same name — featuring music by Stephen Flaherty, lyrics by Lynn Ahrens, and a book by Terrence McNally — is regarded by many as a classic, a panoramic work of epic scale and immense emotional power (some consider it American musical theater’s answer to Les Misérables). It’s unsurprising, therefore, that much anticipation surrounds New York City Center’s starry, vocally resplendent fall gala revival, which triumphantly opened this week for a limited two-week run. Set largely in the Tri-State area during the turn of the twentieth century, the musical follows the trajectories of three increasingly intertwined social groups — established upper-middle-class Whites, the newly socially mobile Black community, and the poor immigrants (largely Jews from Eastern Europe) spilling into Ellis Island.

The production is likely one of Lear deBessonet’s final assignments as part of the City Center family (she’s currently the outgoing artistic director of Encores!) before she departs to lead Lincoln Center Theater. Her staging bears the hallmarks of her previous works as a director, namely a stripped-down aesthetic (which works ideally for Encores! productions), and more importantly, her focus on connecting material to current societal concerns. Although some small kinks in the staging are still understandably working themselves out, the revival is already a potent brew, churning through the machinations of Doctorow’s eventful, episodic plot with both muscular forward momentum and astute commentary. Perhaps more importantly with Ragtime than most other musicals, the score takes center stage, as literally manifested by the magnificent onstage orchestra. As conducted by music director James Moore, the players unleash the score’s full bounty of riches with power and sensitivity. In short, this revival lives up to the musical’s reputation as one of the great musicals of the modern era.

Leading the remarkable and purposeful cast is Joshua Henry, who gives an emotionally and vocally titanic performance as the musical’s compelling, proud, and ultimately flawed hero Coalhouse Walker, Jr., whose fight for justice as a Black man leads him into dark territory. Heroic in a different sense is Brandon Uranowitz’s animated Tateh — an irrepressible Jewish immigrant who is single-mindedly committed to the happiness and well-being of his daughter. The musical’s third lead is the silver-voiced Cassie Levy as an “everywoman” Mother, tenderly imbuing the role with an aching yearning that contrasts nicely with the her co-stars’ attention-grabbing performances. The supporting roles are just as vividly brought to life, with notable performances from Nichelle Lewis as an emotionally fragile Sarah, Ben Levi Ross as an impassioned if directionless Younger Brother, Colin Donnell’s especially overbearing Father, and Shaina Taub (on a brief hiatus from Suffs) as a fiery yet knowing Emma Goldman.

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RAGTIME
Off-Broadway, Musical
New York City Center
2 hours, 45 minutes (with one intermission)
Through November 10