REVIEW: Ragtime

When I heard that Washington DC’s Kennedy Center for the Performing Arts was opening an all-new production of Ragtime, my first reaction was … why? After all, it was only about 9 years ago that Ragtime closed on Broadway—a production that ran for about 2 years, earned 13 Tony nominations and won 4 Tonys including Best Music and Lyrics. That same production earned 14 Drama Desk nominations and earned 5 Awards including Best New Musical.

Having seen the original production three times—the LA premiere, the Broadway production, and the First National Tour, I thought I knew the show, the staging, and the overall concept. I love Ragtime. So why do we need a new production, when the original was by most accounts (including my own), close to perfection?

As the curtain rises at the Kennedy Center, these questions are gone. This is not just a new production; it is a different production. It is, in many ways, a better production. The glorious music is still there, courtesy of Stephen Flaherty. Lynn Ahrens’ brilliant lyrics are still there, and the captivating book by Terrence McNally is unchanged.

The difference is the vast human emotion brought to the forefront in this re-envisioned interpretation.

The performances at the Kennedy Center are incredible and solid across the cast. Quentin Earl Darrington who stars as Coalhouse Walker is mesmerizing. I found it difficult to take my eyes off him even for a second. His voice is commanding yet gentle and when he discovers he has fathered a child, a full range of emotions flows over his face. Darrington is a master at conveying emotion. We understand every thought going through his head, without hearing a single word. As the story progresses Darrington’s Coalhouse transforms. His innocence and bright-eyed wonder are gone, and he becomes determined, jaded, and angry. And as the show reaches a dramatic conclusion, he is transformed yet again. When he sings, “Make Them Hear You,” the audience is too captivated to utter a sound. We somehow know that he has made peace with his fate. In the show’s final minutes, we know what’s about to happen, and because of Darrington’s outstanding performance, we sense Coalhouse does too. Quentin Earl Darrington gives us a rare and brilliant evening of theatre.

While every single member of this cast should be singled out for their contribution to this show, three performances are exceptional—Christiane Noll as Mother, Manoel Felciano as Tateh, and Bobby Steggert as Mother’s Younger Brother.

Christiane Noll’s vocals are stellar, and her rendition of “Back to Before” in Act Two, brings down the house. At the performance I saw, the conclusion of this song prompted shouts of “Brava”—a common occurrence at opera performances, but a rarity from musical theatre audiences. The accolades are well-deserved. Her entire performance is spot on.

Tateh, played by Manoel Felciano, is a poor immigrant. He and his daughter are traveling to America to seek a better life. Felciano’s performance evokes the fears and uncertainty that any immigrant must feel coming to this country. But Felciano’s Tateh is also full of hope and determination to provide a better life for his child. He is a skilled actor and demonstrates a keen rapport with his young co-star, Sara Rosenthal, who plays Tateh’s daughter, The Young Girl.

Mother’s Younger Brother, played by Bobby Steggert, offers another standout performance. When you first see Steggert, you might wonder how he could possible fit into this production—he seems shy, introverted, and nervous. What we discover however, is a young man struggling to understand who he is and coming to terms with the bigotry around him. Steggert allows us to see Younger Brother develop and make decisions—real choices about his place in the world. Throughout the show, we see him metamorphosis from a weak, nervous, misguided kid, to an assertive, strong-willed man who makes decisions based on what he believes rather than what his is told to believe. The transformation is breathtaking to witness.

This production looks different too. A magnificent three story metal structure designed by Derek McLane dominates the stage. The scaffolding-like set represents many places—auto assembly line, train station, immigration center, textile factory, and ultimately the JP Morgan Library in New York. The use of the platforms and stairs is ingenious and director/choreographer Marcia Milgrom Dodge takes full advantage of the space. Through her intricate staging, she brings life to an otherwise sculptural still life. The actors use the space effortlessly and never are we confused about where we are in time or place.

An original costume design by Santo Loquasto (who designed the original Broadway costumes) helps to reinforce the differences in class, race, and national origin. His subtle, yet distinct choices are beautifully executed and exaggerate the inherent conflict between the characters. Lighting design, by Donald Holder is equally effective, complimenting the entire production in a beautiful and theatrical way.

This Ragtime is exceptional. And while there is buzz about a New York transfer, do not risk missing it.

Ragtime at the Kennedy Center has been extended to May 17.