RAGTIME - revival and comparison

RAGTIME - An American Melting Pot
Reviewed by Sandi "D"
December 2009


For those familiar with the original Broadway production in 1998, the noticeable comparisons are obvious. More was better when money flowed. Was it necessary? Debatable! Given the current economic times, however, a scaled down, almost drab sameness prevails as a three tier platform construction (railway station) serves as the backdrop for the entire show. The actors use this set to play their roles at varying levels. Truth be known, there is no choice but to focus on the performance, songs, choreography and production values. Marcia Milgrom Dodge, Director/Choreographer has surely brought audience awareness to new levels in this revival production.

“Ragtime” is the story of America’s melting pot, its bigotry and racial tensions during the turn of the century and is always relevant. Three families – Father (Ron Bohmer), Mother (Christiane Noll), Mother’s Younger Brother (Bobby Steggert), Little Boy (Christopher Cox), in their lovely upscale New Rochelle segregated community discover an abandoned black baby in their garden. This is the child of Sarah (Stephanie Umoh), a cleaning lady, and her lover Harlem piano player, Coalhouse Walker Jr. (Quentin Earl Darrington) an event that changes their lives forever as Mother makes the decision to take in the baby while Father is away for a year trekking in the North Pole and yonder. The third story is of Tateh (Robert Petkoff) and his young daughter (Sarah Rosenthal) coming to America, their struggles from tenement squalor to eventually living the American Dream as Tateh makes his way from silhouette artist to successful silent film producer.

Other essential folks of the time period make appearances including showgirl Evelyn Nesbit (Savannah Wise), radical rebel rouser Emma Goldman (Donna Migliaccio), Booker T. Washington (Eric Jordan Young), and escapist extraordinaire Harry Houdini (Jonathan Hammond) who makes his first entrance hanging upside down from the rafters.

Is it fair to compare performances and performers from the two productions? Maybe not, but when Brian Stokes Mitchell and Audra McDonald played Coalhouse and Sarah in 1998, the electricity sizzled and sparks flew. Their voices undeniably brought the house down. This is not meant to demean Mr. Darrington and Ms. Umoh but this version seems jazzier, more R & B in feeling and although they are both fine performers, there is a noticeable difference in the vocal timber and the magnetism.
Poignant compositions like “The Wheels of a Dream” and lively “Atlantic City” along with ongoing thread “Ragtime,” continuous throughout, are always memorable. Production dance numbers are a highlight.


Christiane Noll is a perfect choice as Mother, her dulcet soprano tones shown to perfection on “Back To Before.” A chance meeting of Tateh and Mother early on evolves into an opposites attract later-on relationship as Mother emerges into a new awareness of womanhood.

Although Act I is too long and even somewhat lackluster at times, the pace does quicken throughout Act II, a redeeming factor.

“Ragtime” is an important historical musical that should run a long time. However, times being what they are and Broadway being what it is make it questionable.

Music (Stephen Flaherty) and Lyrics (Lynn Ahrens) are the glue that keep it all together with book by Terrence McNally based on the 1975 novel Ragtime by E.L. Doctorow.
Costumes by Santo Loquasto are top notch. Set is by Derek McLane, lighting Donald Holder.