By Marilyn Lester***Kudos to City Center for reviving Ragtime. It’s not only a theatrical masterpiece but arrives when we most need it: during a troubled presidential election where so many of the problems of a century ago are still yet unresolved. Label the issues, “everything old is new again.”
Ragtime, a multiple 1998 Tony Award winner, was birthed by three genius creators: book by Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens. The musical is based on the 1975 book by E.L. Doctorow, which ambitiously tackled themes of gender equality, immigration, The American Dream, racism, bigotry, political will and the universal hope of change. This semi-staged revival is near to perfection in all departments. Choose a word: stupendous, boffo, mid-blowing, inspirational, magnificent—this Ragtime is all of these and more.
What is “ragtime?” Around the turn of the 20th century, transformation was occurring across the spectrum of American life, and music was at the forefront. African-American rhythm had arrived in the form of syncopation, which came to be called raggedy time, or Ragtime. 
Almost every form of music since has been based on its foundation—a superb metaphor for the evolution of the American way of life, embodied in part by the musical’s tune, “New Music.”
Three representative stories that intertwine move forward seamlessly thanks to direction by Lear Debessonet. Clever and witty staging also helps keep the pace going throughout a nearly three-hour run-time. In brief, in the decade between 1902 and 1912, the lives of a white upper middle class family in New Rochelle (Colin Donnell as Father; Caissie Levy as Mother, whose 11 o’clock “Back to Before” is a showstopper; the amazing Matthew Lamb as The Little Boy, their son; Ben Levi Ross as Mother’s Younger Brother) intersect with the Lower East Side immigrant story of the Latvian Jewish Tateh and The Little Girl, his daughter ((Brandon Uranowitz), Tabitha Lawing).
But it’s the story of the Black experience of Harlem and how it informs the other two that’s the driver of Ragtime. The educated and middle class pianist, Coalhouse 
Walker Jr.—who has played with James Reese Europe and is a member of Europe’s historic Clef Club society—learns that his inamorata, Sarah, has given birth to their son and is now in a depressive state. It’s Mother who’s discovered the newborn left in her garden, with Sarah hiding nearby. Mother takes in mother and baby and willingly becomes responsible for them.
Coalhouse aims to make the situation right, but the circumstances around his good will enter him into a spiral of devastation. Although Nichelle Lewis’ Sarah is the weakest link in a superbly talented large cast, it’s Joshua Henry as Coalhouse that rises to the top and is epically astounding. His rich baritone is matched by first-class acting chops and purely charismatic stage presence. Henry alone is worth the price of admission to this incredible production. To hear him sing “Justice,” “Wheels of a Dream” and “Make Them Hear You” is to be thoroughly transported.
Historical figures also dot Ragtime: Emma Goldman (Shaina Taub), Harry Houdini (Rodd Cyrus), Booker T. Washington (John Clay III), Admiral Peary and J.P. Morgan (John Rapson), Henry Ford (Jeff Kready), Evelyn Nesbit (Stephanie Styles)—all marvelously rendered and
integral to the plot. A large ensemble cast tasked with song and dance, minor roles and acting as a sort-of Greek chorus, execute Ellenore Scott’s choreography and whirlwind changes of Linda Cho’s costumes flawlessly,
Music director James Moore leads an onstage orchestra of nearly 30 musicians who play completely in the pocket. The essence of Flaherty’s work—modern yet reminiscent of the era—is translated effectively, with sound design by Kai Harada. There’s not a false note, which can pretty much be said of this entire rousing production. On the unadorned City Center stage, the work of David Rockwell (scenic and production design) and Adam Honore (lighting design) also significantly contribute to making this Ragtime a fulsome outing.
Ragtime is a sumptuous, ground-breaking and important musical in and of itself. This production at City Center is no less so. It’s a must-see. Grab tickets while you can (click here for more information and to purchase). And pray for a transfer to Broadway,
Photos by Joan Marcus
