3/12/2025 Preview: RAGTIME City Springs Theatre Co
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(Preview Disclaimer: This is an analysis of the script and music of “Ragtime” intended as a promotional “Preview” for the City Springs Theatre Co Production. Unfortunately, I will not be able to see the production to offer remarks on how well they bring this show to lyrical and rapturous life.)
One of the joys of theatre-going is seeing a production of an oft-produced, oft-attended favorite that breaks new ground, finds new "moments," and sets off new "fireworks." I have seen Ragtime many times in many different conceptualizations, from the original many-set Broadway extravaganza to Atlanta Lyric Theatre's scaled-down unit set version, to Serenbe’s “Big Top” concept which placed the entire story in an Atlantic City Side Show, to even a High School attempt that included some interesting staging ideas that surprised and enriched its modest budget and resources.
This is, without a doubt, one of my favorite musicals of the past 25 years. Now, unfortunately, my relocation will prevent me from attending City Springs Theatre Company’s upcoming production. And, according to City Springs Executive Director Natalie DeLancey, it promises to be an entirely new staging, graced with a 31-voice ensemble, a 9-piece orchestra, and a triple-concept set that reflects the three separate “groups” and choruses.
Ragtime syncopated its way into existence as a 1975 tapestry-novel by E.L. Doctorow that combined historical and fictional characters into a portrait of America from 1900 to 1917. Its central upper-class-white family (unnamed) proves to be a magnet for several storylines that show us glimpses of the imminent softening of barriers between classes, races, and genders that may be the defining characteristic of 20th-century America. This "softening" starts by "the coming of the Negro" to New Rochelle NY in the person of Sarah, a depressed "woman of color" who has tried to bury her new-born infant. She is soon followed by "Coalhouse" Walker, a professional musician and the child's father. When an act of racism clashes with Coalhouse's towering pride, tragedy and terrorism ensue. In the meantime, an immigrant single father of a young girl struggles with crushing poverty but never falls into despair and soon is swept up by his own American dream. By the end of the book, World War I "changes their lives forever," or it would if the characters hadn't already changed their own lives from within.
The story's next incarnation was a 1981 movie, that featured Mary Steenburgen, Mandy Patinkin, Elizabeth McGovern, Brad Dourif, Debbie Allen, Howard Rollins Jr., and, in his final role, James Cagney. It was well-received, winning eight Academy Award nominations, and, at the time, was a personal favorite of mine.
The musical (book by Terence McNally, Lyrics by Lynn Ahrens, music by Stephen Flaherty) opened in Toronto in 1996, moved to Los Angeles, then finally landed on Broadway in 1998. It was a large and lavish spectacle of a show, one that was sometimes criticized for letting its razzle-dazzle overwhelm its story. It was a costly show to "run," and only lasted two years. A subsequent revival closed early, again because of its high production costs.
My own opinion was that the razzle-dazzle did not distract, that the music and story were powerful in their own right, and that the fireworks and such were merely "Icing on the cake," symbolically relevant considering the source of "Father's" fortune ("Fireworks, bunting and other accoutrements of patriotism"). I have been a rabid fan ever since I heard the Toronto cast cassette and seek it out whenever possible.
In a phone conversation with Ms. DeLancey, I learned that the City Springs staging will be totally original with a set designed and built by Jacob Olson, who was responsible for City Spring’s outstanding 2023 staging of Fiddler on the Roof. His basic concept “segregates” each story by basic “look:” pristine white for New Rochelle, smoky wood grain for Harlem, cold metal for the downtown immigrant tenements. These looks may (judging from the newly released teaser video) begin to blend as the stories overlap to create a New America motif. I also understand there will be a fully functional and drivable Model T Ford!
The cast is headed up by Jonathan Christopher as "Coalhouse" Walker Jr., Kristine Reese as Mother, and Jordan Sam Rich as Tateh. Mr. Christopher appeared in the recent Broadway revival of Sweeney Todd and in Atlanta Opera’s 2024 production of Rent. Ms. Reese and Mr. Rich appeared in several shows for City Springs.
Others in the cast include CSTC veterans Max Gukhman as Father, Corey Bryant as Younger Brother, Haley Byrd as The Little Girl, Grace Arnold Hogan as Evelyn Nesbit, Chris Damiano as Grandfather, Megan K. Hill as Emma Goldman, Bob Adams as J.P. Morgan, Timothy Ellis as Henry Ford, as well as ensemble members Alec Beard, Claudio Pestana, Kyle Robert Carter, Arielle Rider and Zac Pritts. Making their CSTC debuts are Kyla Bolling as Sarah, Nolan Waters as The Little Boy, Steven Mooney as Harry Houdini, Monté J. Howell as Booker T. Washington, Latrice Pace as Sarah’s Friend, and ensemble members Sarah Brinson, Lalo Cavali, Avanni Cherie, Naomi Green, Jillian Melko, Leah Elm Meier, Cedric J. Paige, Wesley Tunison, and Diego Turner-Figueredo.
Behind the scenes are Jacob Olsen designing lights as well as sets, Anthony Narcisco designing sound, Russ Williamson designing props. Costumes (based on the original designs based on Santo Loquasto) are provided by NETworks Rentals. Miles Plant is Musical Director and Todd L. Underwood directs and choreographs.
Ragtime opens Friday, March 14, and runs through Sunday March 30, Wednesdays through Sundays with two performances each Saturday.
Ragtime has become one of my favorite musicals, due to its rapturous score, its sweeping story, and its elegant characters (the namelessness of the fictional characters giving them a universality that makes their individuality all the more compelling). It promises to be a memorable theatrical experience and will fill your heart and your mind with its breathless beauty and music, even as the piano roll of spring 2025 grinds to its inevitable conclusion. I wish I could be there!
-- Brad Rudy (BKRudy@aol.com #CitySpringsTheatre #RagtimeTheMusical)