Ragtime
Book by Terrence McNally
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Based on “Ragtime” by E.L. Doctorow
Directed by John R. Leffert
Review by Rachel White
Entire
contents are copyright © 2012 Rachel White. All rights reserved.
At the turn of the twentieth century Henry Ford invented
his famous assembly line, Booker T. Washington graduated from Harvard, immigrants
were crossing the oceans to America in huge numbers, and the syncopated rhythms
of ragtime were in the air. There is a great deal of irony and tragedy behind
each of these great events. Ragtime,
the musical, scurries over any complications or ironies and instead sells hope,
the American dream, and a good time. CenterStage embraces that idea with a highly
polished, spirited production.
Ragtime centers
on three American families living around New York City at the turn of the
century. Among these are an African American couple, an upper middle class white
family, and two Jewish immigrants. Despite some technical difficulties, the
show is extremely well done, with solid professional vocal performances,
dancing, and staging. Among the vocalists who really stood out was Emily Fields,
who works well as the compassionate but bored Mother who wants more. Mother
takes in an African American baby whom she has found in her garden, and upon
discovering that the baby belongs to her servant, Sarah, attempts to take the
baby in. Fields has a pure voice with a wide range, and her style is warm and
confident.
Other strong performances came from Tymica Prince
as Sarah and Alonzo R. Richmond as Coalhouse. They play a troubled African
American couple struggling through life long before Civil Rights. “The Wings of
A Dream” was a solid and touching duet between the couple. Tamika Skaggs was
another standout who stole the scene at the end of Act I with her rich gospel
solo in “Till We Reach That Day.”
The more personal scenes came between Tateh (Monty
Fields) and his daughter (Kitty Helm). They are two Jewish immigrants who have
just arrived in America. Their relationship felt the most authentic and
specific. There is an emotional moment when Tateh has to send his daughter to
live with his aunt because he cannot afford to feed her. This felt like the
most specific and realistic relationship of the play.
What I missed from Ragtime was what united all of these people ultimately – the
writers don’t seem to know. This isn’t the fault of the production. Even the prospect
of starvation is quickly swept aside, and things are easily solved. Musicals
often do this, but it seemed that an opportunity for richness was missed in
favor of easy endings and snappy tunes.
CenterStage’s production is aptly timed, and many of
the tumultuous events surrounding the turn of the twentieth century are still
haunting us at the turn of the twenty-first. It attempts to remind us that ragtime,
syncopation, and music can bring people together in spite of the weird
craziness going on in the world.
Ragtime
October 27 - November 11
CenterStage at
Jewish Community Center
3600 Dutchmans Lane
Louisville, KY
40205
Call 459-0660 for tickets
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