Ragtime had been scheduled to open North Shore Music Theatre’s 2002 season before last September 11, but who would have imagined that the events of that terrible day would chime with such resonance when filtered through a revival of the ambitious, award-winning musical set at the turn of the 20th century?
Based on E.L. Doctorow’s 1975 novel, which interweaves the stories of three fictional families with actual events and historical figures, the stage version, which debuted in Toronto in 1996, is nothing less than a pageant of America, with the country’s imperfections looming as large as the aspirations of its people. Yet by the end of the evening, the message of affirmation rings clear. And it’s an added irony that, unlike those other patriotic paeans of the musical stage, Oklahoma! and The Music Man, Ragtime takes place primarily in New York.
Having broken the budget to present this show in all its necessary glory, North Shore Music Theatre has risen to a new level of achievement with this first-rate production. No corners were cut in engaging a large-enough cast with operatic voices to perform the songs of the multitude of characters. Designer Dex Edwards must have worked his crews overtime to stretch the scenic possibilities of the circular stage: they added three traps and a turntable to the floor, built a high scaffolding as a second-story performing space, and expanded the theatrical terrain by hanging two huge projection screens opposite each other in the auditorium to depict vast expanses of geography as well as the streets of New York. The costumes were rented as a package from the Broadway production.
Director Stafford Arima served as resident director of both the Broadway and touring productions of Ragtime. Choreographer Candace Jennings worked on the touring show. Between them, they’ve created a marvel of swirling movement in this first adaptation of the material to an arena stage. Although some of the choreography (such as the three phalanxes of actors representing the Anglo-Saxons from New Rochelle, the African-Americans from Harlem, and the immigrants just off the boat at Ellis Island in the Prologue that introduces the title song) is familiar from the original, Jennings has adapted a parade of social dance forms to suggest the rhythms of each of the ethnic groups. Despite the challenge of trooping so many actors through the entrances around the space, Arima is not afraid to let one actor hold the stage alone, unencumbered by distractions, as in Sarah’s moving lullaby " Your Daddy’s Son, " Mother’s ringing anthem " Back to Before, " and " Coalhouse’s Soliloquy. "
The actors come trailing New York credits, many of them being veterans of Ragtime on Broadway or on tour, though not Alan H. Green, who is surely the next important musical star. As Coalhouse Walker Jr., the black piano player who brings the warm melodies of ragtime music into the frigid parlor of the upper-class family in New Rochelle, he strides the stage with the humanity of the resolute seeker of justice. Enhanced by stunning good looks, he combines a stellar voice with fine dancing skills, but best of all is the way he listens to and connects with the rest of the cast. The other leading actors are just as sympathetic, especially Joel Briel as the mercurial immigrant Tateh, Ann Van Cleave as the conflicted Mother, and Nikki Renee Daniels as a golden-voiced Sarah. The roles of such historical personages as Booker T. Washington, Emma Goldman, and Harry Houdini are also well cast. Jimmy Dieffenbach as the Little Boy, who’s touched with the gift of prophecy, deserves special mention.
The most surprising discovery from this splendid revival is how well the material has matured. Ragtime was recognized with a host of awards, including Tonys for book and score, when it opened on Broadway in 1998. But it’s gratifying to hear Stephen Flaherty’s melodies resonate with the emotions expressed by Lynn Ahrens’s lyrics in echoing Doctorow’s vision of America. The creative team must be credited for acknowledging the frailties of the nation even while waving the flag. The turn of the 20th century differs little from today, when race remains the issue that continues to divide us and the inability to change is still our most damaging collective flaw.
