Ragtime and Caroline, or Change
By CAROLYN CLAY | May 10, 2006
TWO CHEERS: One for Ragtime , and another for New Rep’s production.
|
The wheels of a dream are spinning New Repertory Theatre into a new era with its production of Ragtime (at the Arsenal Center for the Arts through May 28). I mean not just the era captured in the Tony-winning 1998 musical based on E.L. Doctorow’s novel that stirs fact into fiction in the melting pot of turn-of-the-20th-century New York, but also a new age for the theater company, which moved last fall from its Newton Highlands church digs, out of which it was bursting, into a larger, more state-of-the-art space at the Arsenal Center for the Arts. Ragtime, with its interconnected stories, its stirring anthems infused with the “new music” of the title, and its vast sociological swirl, has the ability to thrill, and at New Rep it does. You just want to stand up and cheer, partly for Ragtime and partly for New Rep, which is finally in command of its improved situation. Ragtime is surprisingly fine for an enterprise created by committee, with Canadian producer Garth Drabinsky shopping for a creative team as if by catalogue, bringing together librettist Terrence McNally, the team of composer Stephen Flaherty and Lynn Ahrens (who auditioned), and director Frank Galati. But McNally masterfully compresses the source material, in which the stories of three families — a white-clad WASP clan living in New Rochelle, a black pianist turned terrorist when his fiancée is killed, and a Latvian immigrant trying to pull himself and his little girl up by bootstraps of ingenuity — are interwoven with events of the day that include the murder of architect Stanford White by millionaire Harry Thaw (whose wife, sex goddess Evelyn Nesbit, was White’s mistress), the ascents of “modern pharaohs” Henry Ford and J.P. Morgan and “fabulous immigrant” Harry Houdini, and the anarchist agitation of Emma Goldman. Moreover, the songs are as full of feeling as they are of syncopation.
Artistic director Rick Lombardo has proved his adeptness with musicals, even when he had to shoehorn Sweeney Todd into space more suited to Spalding Gray. Here he’s collected a stirring contingent of voices, known and unknown, to handle the demands of Flaherty’s soaring score, in which snatches of the title tune and the haunting “New Music” turn up like not-bad pennies. Particularly splendid are Leigh Barrett, whose Mother conveys the disappointed sadness of falling out of love and artfully balances fire and rue in her singing, and Boston Conservatory sophomore Stephanie Umoh, who, handed the impossible task of delivering “Your Daddy’s Son,” a song built on the voice of Audra McDonald, plumbs both its dissonance and its drama. Maurice E. Parent, in his fourth Ragtime turn, plays dapper pianist suitor Coalhouse Walker Jr. to Umoh’s shy, intense Sarah, and their duets — the hopeful “Wheels of a Dream,” performed before an operational Model T Ford, and the frisky flashback “Sarah Brown Eyes” — are irresistibly sweet. As immigrant Tateh, a Cinderella in Tevye’s clothing, Robert Saoud counters a trace of ham with some compelling singing.
Related:
Best on the boards, Best on the boards, Maid in America, More 
- Best on the boards
Huntington Theatre Company artistic director Nicholas Martin recently announced that he would leave his post in 2008.
- Best on the boards
Huntington Theatre Company artistic director Nicholas Martin recently announced that he would leave his post in 2008.
- Maid in America
Caroline, the African-American maid of Caroline, or Change , spends most of her days doing laundry in a basement in Louisiana, circa 1963.
- Spring boards
As the winter wind makes fast tracks, it leaves a burgeoning crop of ancient masterpieces, world premieres, farces, and musicals to blossom come April.
- Stage craft
If your escape to New York must include a tune-filled stage show, then the documentary of your dreams is ShowBusiness: The Road to Broadway.
- Old wives’ tales
A pretty girl is less like a melody than like yesterday’s news in Follies , the New York Drama Critics Circle Award–winning 1971 musical that lost money but became the stuff of legend.
- Both new and old classics
The Gamm certainly has come a long way in the quarter-century leading up to this its 25th anniversary season. The evolution of its name alone is quite a trip.
- Primary colors
Now that the holiday hubbub is behind us, we have no dreams of white Christmases or visions of Sugar Plum Fairies to warm a theatergoer’s heart.
- New + old classics
As if freshly presenting stage classics isn’t challenging enough, new adaptations are in the lineups this fall at two companies, Trinity Repertory Company and the Gamm.
- Night music
Classic musicals make substantial enterprises —this is now the best thing the Pops does.
- On the record
The days when Boston was the chief tryout town for Broadway-bound musicals are long past.
- Less
Topics:
Theater
, Entertainment, Science and Technology, Stephanie Umoh, More
, Entertainment, Science and Technology, Stephanie Umoh, Robert Saoud, Harry Houdini, Todd Gordon, Jeanine Tesori, Spalding Gray, Brian Richard Robinson, Jose Delgado, Less
