The American Dream reflected in Terrence McNally’s Ragtime is a complex mosaic filled with ambition, perseverance and prejudice. Based on the novel by E.L. Doctorow with music and lyrics by Stephen Flaherty and Lynn Ahrens, this astounding production by Dallas Theater Center, in partnership with SMU’s School of the Arts and the new Sexton Institute for Musical Theatre, was a visceral experience that didn’t just speak to the turn-of-the-century narrative, but painfully to today’s American experience. Under Joel Ferrell’s direction and Vonda K. Bowling’s music direction along with its superb cast, Ragtime was an emotional journey that satisfied and resonated through commanding performances and instrumentation.
Immediately, the sparse set only displayed the show’s orchestra on risers. No backdrop exposed backstage hardware and actors stretching and readying to go onstage. A perplexing first impression that slowly revealed through dropping scrims and decorative accessories that immediately transported to the story’s setting to magnificent effect by designer Lauren Wheat.
Ragtime hinges on three perspectives: Coalhouse Walker (Akron Watson), the Black musician who faces prejudice while also building his family; Mother (Tiffany Solano) of the white upper-class society who has a reckoning which changes her world view; Tateh (Blake Hackler), the Jewish immigrant who struggles to find a better life for him and his daughter. All three share a conviction to the promise of the country but deal with the harsh realities that come from that.
The production ran through a proper mix of tension and assureness. In more emotional and darker moments, the actors held a distinct rigidity that fueled those scenes. On the opposite end, the cast let loose into the jubilant parts most often punctuated by a lively number. These were effectively conveyed with the help of Jessica Ann Drayton’s lighting design that helped define the moods.
Bowling’s music direction was resplendent both with the musicians and the actors. Each principal actor brought deep layers of emotion to their musical numbers. The orchestra fully embodied the show’s signature sound of spirited and celebrated tunes that carried cries of social injustice, love and dreams. The music and all the voices were enhanced by Brian McDonald’s crystal sound design.
The principal actors each held fast as the show’s pillars. Solano was beautifully sympathetic but never weak; Hackler had such a deft hand in mixing Tateh’s weariness with hopeful charm; as the most central figure Coalhouse, Akron carried the show on broad shoulders with confidence and power.
Surrounding the three were equally dynamic performances.
Alex Organ kept peeling back layers to Father as he went from loving husband to stern patriarch. J’Von Brown’s Booker T. Washington was a smart and stoic portrayal of the show’s voice of reason. Bri Woods was a standout as Coalhouse’s love interest and baby mama Sarah. A beautiful performance that she evolved effortlessly from downtrodden shame to an empowered woman.
The entire cast was helped immensely by by Travis Chinik’s exquisite costuming. The period wardrobe matched not just the era but the show’s vibe. A mix of drab and bold aided in telling the story. And please let’s discuss what’s going to happen to Bob Hess’ fabulous longcoat after the show.
The questionable part of the show was its use of smoke – mostly in the first act. There must have been a sale on the stuff because the air was just filled with thick clouds and smell going into intermission. The second act began with one more puff pushed out. Additionally, it just never felt effective in any contributing way to the story and more distracting – especially by those fanning the smoke away to see the show.
Ragtime evoked much because of how pertinent this vintage story was to modern times. With all its heart and emotion and optimism, Ragtime conveyed how the story of America has changed – and stayed the same. Sigh. But still, through art and music like this, Dallas Theater Center reminded how the American Dream can still be alive.
The show runs through April 19 at the Wyly.
–Rich Lopez