By James V. Ruocco
A poignant, timely and revelatory piece of American theater, "Ragtime" speaks directly and intimately to its audience with every single person listening to its rich language, its choice musical moments, its varying chapters, its dynamic characters and its free-flowing, embracing orchestrations.
It is passionately assembled and recreated.
It has its own sense of purpose and individuality.
It is concise, articulate and high-toned.
It evokes the right mindset for its definitive look back it time.
It has sting.
It has bite.
It has intrigue and melodrama.
It overflows with appeal and emotion.
Its themes, musical and dramatic, are established with great clarity.
It is raw, real, expressive and surprising.
Based on E. L. Doctorow's epic 1975 historical novel, "Ragtime," adapted for the stage by Terrence McNally, follows three groups of Americans at the turn of the 20th century: New Rochelle's wealthy middle-class, represented by Mother, Father and their family; America's immigrant population, as seen through the eyes of Latvian Jew, Tateh and his daughter; and the African-American community, represented by Coalhouse Walker, Jr., Sarah and Booker T. Washington.
Then and now, the story itself is about freedom, race, prejudice, immigration, identity, struggle, survival, poverty, social unrest, political doubt, feminism, lost dreams and radicalism. There's a lot going on, but McNally never once steps out of line or becomes overly preachy or melodramatic in his storytelling. This being a musical, he employs a quick, understandable narrative that retraces a certain place and a certain time in history that syncopates fact and fiction with resonance, excitement and imagination.
At Music Theatre of Connecticut, Kevin Connors is by far one of the best directors working in professional Equity theatre today. With "Ragtime," he creates a vivid, involving tour-de-force in which historical and fictional content unfolds with pure shots of adrenaline, truth, realness, drama and circuity response. Here, as "Cabaret," "Cat On a Hot Tin Roof " and "Jekyll & Hyde," his work is earnest, fresh and astutely chronicled, no matter what the subject matter, time frame or intricately gauged story arc.
Using three-quarter staging to tell the "Ragtime" story, Connors adapts a personal, upclose, docu-drama style that thrusts his audience immediately into the piece as both observer, participant and voyeur. This immersive conceit works most effectively as actors enter and exit through the audience, pausing now and then to recite dialogue, participate in the show's many ensemble numbers, deliver important facts and findings or simply stand still watching the action unfold from the sidelines. It's all very carefully thought out and imagined within the theater's small, confined, intimate space and one that allows Connors to create, entice and deliver his very own vision most engagingly.
As director and storyteller, Connors does an impressive job of making "Ragtime" fill the stage, move from scene to scene fluidly and naturally and more importantly, mirror the angst, unrest, drive and plainspokenness of the times with a creative flourish that heightens the relevance and timeliness of the piece at every single turn. He takes chances and runs with them. He knows what works and what doesn't. He knows when to take a breath, pause, stand still and let an important moment linger. He know how to get a laugh, shake you up and move you close to tears. He also knows musical theater inside out, front and backwards, left, right and center and upside down, which, here, makes all the difference in the world. That said, this is "Ragtime" like you've never seen it before.
The musical score for "Ragtime" was written by Stephen Flaherty (music) and Lynn Ahrens (lyrics). It won the 1998 Tony Award for Best Original Score and features 32 musical numbers. They are "Prologue: Ragtime," "Goodbye, My Love," "Journey On," "The Crime of the Century," "What Kind of Woman," A Shtetl iz Amereke," "Success," "His Name Was Coalhouse Walker," "Gettin' Ready Rag," "Henry Ford," "Nothing Like the City," "Your Daddy's Son," "The Courtship," "New Music," "Wheels of a Dream," "The Night Emma Goldman Spoke at Union Square," "Gliding," "Justice," "President," "Till We Reach the Day," "Coalhouse's Soliloquy," "Coalhouse Demands," "What a Game," "Atlantic City," "Buffalo Nickel Photoplay, Inc., " "Our Children," "Sarah's Brown Eyes," "He Wanted to Say," "Back to Before," "Look What You've Done," "Make Them Hear You," "Epilogue."
Intoxicating, smooth and melodious, each of the musical numbers captures key moments in the character's lives and what's at stake for them and the troubled America that surrounds them.There are anthems, soliloquies, jazz specialties, powerhouse ballads, honky-tonk/ragtime piano tunes, optimistic declarations, edgy salutes to strangers, syncopated beats and rhythms and crisp, heavy undercurrents. Nothing is too big, too small or out of sync with the epic musical story at hand. It's all timed and placed to the pulse and heartbeat that is "Ragtime," generating the right nostalgia, charm, edge and weight for the bygone era of its setting and strong-voice populace.
Music director David Wolfson brings exactness, compassion, pulse and pleasure to the "Ragtime" musical score. Completely knowledgeable of the source material and how it is to be played and realized, Wolfson's smart and savvy take resounds with the right edge, attitude, spirit, thrill and frankness set forth by the show's originators. At the piano alongside Mark Ceppetelli on second piano, things are interpreted freely and affectionately with careful attention given to the dynamic scope of the different songs and ensemble numbers, their wide story arcs, evident authority, lyrical inventiveness and keyboard vitality. Under their tutelage, the cast brings the material to a blazing light, always knowing when to power up or power down so that each song achieves its maximum value and personal perspective.
"Ragtime" stars Ezekiel Andrew as Coalhouse Walker, Jr., Julie Lambert Pratt as Mother, Jessica Molly Schwartz as Evelyn Nesbit, Frank Mastrone as Tateh, Dennis Holland as Father, Soara-Joye Ross as Sarah, Brian Demar Jones as Booker T. Washington, Christian Cardozo as Harry Houdini, Mia Scarpa as Emma Goldman/Kathleen, Jacob Sundlie as Younger Brother, Ari Frimmer as the Little Boy, Hannah Pressman as the Little Girl, Kanova Latrice Johnson as Sarah's Friend, Jeff Gurner as Willy Conklin/Henry Ford and Bill Nabel as J.P. Morgan/Grandfather. With Kevin Connors, pulling the stings, directorially, that is, everyone is exactly right for their respective roles in the two-act musical, each projecting the right attitude, mindset, spirit and spark associated with each of the parts they are asked to portray. Vocally, they also master the melodic intricacies of the "Ragtime" score, demonstrating an impressive flair and understanding for the show's different musical styles, mood swings important rhythmic influences.
Vaudeville beauty Evelyn Nesbit, played by an effervescent Jessica Molly Schwartz sparkles and shines in true musical hall fashion. She also displays that onstage charm and twinkle that made Nesbit an early 20th century celebrity adored by millions. Ezekiel Andrew is a remarkable, strong-voiced Coalhouse Walker, Jr., bringing nuance, gentleness and emotion to his wonderfully realized performance.Frank Mastrone brings plenty of heart and compassion to the role of Tateh, a penniless Jewish immigrant who becomes a pioneer in the American film industry. Anarchist Emmy Goldman gets the full-on revolutionary treatment from Mia Scarpa. As Mother and Father, Julie Lambert Pratt and Dennis Holland craft their particular story with grace, passion, appeal and brio. In the role of Sarah, Soara-Joye Ross delivers an impeccable dramatic performance, matched by a vocal range that lays bare the underlying emotions of the songs she sings with exquisite sensitivity and effortless vocal athleticism. Christian Cardozo brings the right sense of mystery and emotional intensity to the part of illusionist Harry Houdini. As the Little Girl and the Little Boy, Hannah Pressman and Ari Frimmer contribute greatly to "Ragtime's" rich, deeply felt story with performances that stir the soul with standout concern and expression.
A thrilling patchwork of America, "Ragtime" is a bold, invigorating, attention-grabbing musical of turn-of-the-century life from a very different era. It is performed with stand-out encouragement and emotion by its incredible cast. The music is potent, bittersweet and pertinent. And with director Kevin Connors at the helm, it is a theatrical piece of unexpected delights, both masterful and unforgettable.
"Ragtime" is being staged at Music Theatre of Connecticut (509 Westport Ave., Norwalk, CT), now through October 13.
For tickets or more information, call (203) 454-3883.
website:musictheatreofct.com
No comments:
Post a Comment