SEE IT: A polished and searingly relevant “Ragtime”
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“What’s past is prologue” — William Shakespeare, The Tempest
“We learn from history what we do not learn from history.” — Georg Hegel
These two quotes frequently popped into my mind while watching Signature Theatre’s production of Ragtime. Here is a 2023 production of a 1998 musical, itself an adaptation of a 1975 book about the United States in the early 1900s, and the hardships and cruelty represented in the story are still our country’s reality. Its displays of racism, xenophobia, sexism, antisemitism, police brutality, and more make this production incredibly important and soberingly relevant.
That said, the thoroughness of its impact on audiences may be hindered by how wonky and indulgently overstuffed the musical is. As mentioned in a prior review, I’m an essentialist, and many supporting characters in this musical are inessential and poorly integrated. They are indeed entertaining (particularly when performed with the artistic vigor of Maria Rizzo and Dani Stoller), but these historical cameos get tired in a show pushing 3 hours long. I believe it is a waste of creative energy that the main storylines needed more of.
The musical focuses on three groups of people: a Black musician from Harlem; a Jewish immigrant from Latvia; and this upper-class white family in New Rochelle. The first two groups have vibrant, emotionally resonant storylines; meanwhile, I cannot tell you anything of hefty narrative significance with this group. They do not have actual names and they mostly serve as the glue between the other two storylines, which is frustratinglyunderwhelming and a “waste of a vital heart”.
While the musical lacks narrative finesse, it is impressively elevated by a gorgeous production. Director Matthew Gardiner has handled this massive undertaking with dazzlingly crisp vision. His staging is a master class of utilizing space and physicalizing storytelling. Each scene has been intricately composed, which is an enormous feat when tracking an ensemble of 30+ actors. I was fascinated by the visuals for the entire runtime.
This may be the most exquisitely designed production of the year. Lee Savage’s luscious scenic design makes an intimate stage feel expansive and highly versatile. Erik Teague’s countless period costumes are breathtakingly elaborate. Tyler Micoleau’s spectacular lighting design is rich in color and feeling. Signature cut no corners in developing an ornate visual world for this show.
Further enhancing the piece is a stellar ensemble cast, each contributing vibrant, exceptional performances. Awa Sal Secka’s complexly nuanced Sarah will move you. I was cackling at Maria Rizzo’s hilariously vampy Evelyn Nesbit. Dani Stoller gives a fiery performance as Emma Goldman. Bobby Smith’s bold and endearing Tateh frequently shines and inspires. And young Matthew Lamb is wonderfully silly and charming.
Giving one of the best performances of the year is Nkrumah Gatling as the sly, debonair, fiercely passionate Coalhouse Walker Jr. Having performed this role before, Gatling lives and breathes every second of this character. Emotionally unguarded and luminously expressive, with a smooth and heavenly voice, his performance alone is why you should buy a ticket. The intensity and range of emotion displayed on that stage is both entertainingly captivating and artistically inspiring. Audiences will be enamored and in awe during every scene of his.
Although the material is overly cluttered, the parts that matter most hit effectively hard. I can whine about all the unnecessary bits, but its scenes of fearful yet hopeful immigrants, blatant and violent racism, protests for better labor conditions, police brutality and lack of justice, a toxic culture of misogyny, and more make this musical almost required viewing. And Signature makes that viewing all the more powerful and satisfying.
Signature once again elevates a beautifully flawed musical with a magnificently conceived, fabulously executed production. Its relevance to this current moment in our country cannot be overstated, and it will leave you enlightened if not energized to seek out and fight for a better, safer world. With great style and heart, this production is an impressive artistic accomplishment, so it is my UnProfessional Opinion that you SEE Ragtime.
Ragtime
Book by Terrence McNally; music by Stephen Flaherty; and lyrics by Lynn Ahrens
Directed by Matthew Gardiner
Signature Theatre
October 24, 2023 — January 7, 2024
