Ragtime is a musical epic in every sense of the word. It's long. It's filled with representative characters of an era. Its sweeping story broadly touches on many of the trends and concerns of the time it represents, America between the turn-of-the-last-century and the first world war. The songs flow from each dramatic situation to the next, swiftly moving from enjoyable group numbers to reflective solos. And it's long. The touring production produced by America West Airlines Valley Broadway Series at ASU's Gammage Auditorium clocks in at just under three hours. That's not to say that it isn't wonderful, it's just that it can be draining even while it's simultaneously uplifting.
Based on the long, engrossing novel by E.L. Doctorow, Terrence McNally splits the decade into three representative groups. There are the rich white folks living in isolation in a swank suburb north of New York City. There are the African Americans who populate Harlem, fighting racism to claim their self-respect. Finally, there are the immigrants of Europe, lured by the promise of the golden roads of America. These three factions find themselves colliding in their search for the American Dream, and emerge irrevocably changed. The three families that represent these groups are driven forward by the ceaseless beat of the Ragtime music that underscores the age. Surrounding them are iconic figures of the age, including Booker T. Washington, Emma Goldman, J. Pierpont Morgan, Henry Ford, and Harry Houdini.
While this is an ensemble cast of dozens, there are three characters who drive the story forward. They are the Mother of the wealthy white family, who undergoes a transformation when left to run the house on her own; popular ragtime pianist Coalhouse Walker Jr., made rich by his talent, but still oppressed by racism and seeking justice; and Tateh, a widowed Russian Jewish immigrant who brings his daughter to America, determined to give her what he never had, a future. When these three leads are well cast and in control, the show can flow.
On the opening night of this production, two-thirds of this triumvirate were excellent. Lawrence Hamilton's Coalhouse is amazing, a singing Samuel L. Jackson whose presence is always commanding on the cavernous Gammage stage. He gives Coalhouse the perfect balance of intelligence, outrage, and hubris. As Tateh, Jim Corti has energy to spare. His dancing is wonderful, and his comedic timing great. The problem came with the last-minute replacement of Cathy Wydner with her understudy, Anne Tolpegin. Ms. Tolpegin has a beautiful voice, and looks the part of the slowly awakening woman, but she just doesn't quite have the stage presence of the others, and that does not work in this pivotal role. Therefore, while the show was clipping along for two-thirds of the time, it began to drag during Ms. Topegin's many dramatic moments and soliloquies.
Frank Galati has paced the show wonderfully, and this great forward motion is reflected in Graciela Daniele's musical staging. The ensemble is generally wonderful, highlighted by Lovena Fox's offerings as Coalhouse's love, Sarah, the powerful preaching of Mary Gutzi as Emma Goldman, and Ricky Ashley as the narrative Little Boy. While a couple of people in the ensemble seem to be going through the motions more than others, the general energy is definitely upbeat and spirited.
Another problem was the execution of Jonathan Dean's sound design, which was quite detrimental to the evening. However, this was made up for by Eugene Lee's clever production design, Jules Fisher and Peggy Eisenhauer's lighting, and the solid orchestra directed by Lynn Crigler.
There are so many wonderful moments in Ragtime, and so much to discover about this era, as well as a slew of great performances, it's worth having to down a couple of cups of espresso to catch them all. Perhaps, with the cast at full strength, there will be nothing but raves for the evening.
Production Details:
Ragtime Book by Terrence
McNally, Music by Stephen Flaherty, Lyrics by Lynn
Ahrens
America West Airlines Valley Broadway Series
ASU's Gammage Auditorium, Tempe
(480) 784-4444
October 31st - November 12, 2000