Something has certainly begun at Lincoln Center this season. Something magnificent. Something majestic. Something glorious. That would be the new revival of “Ragtime,” which has come to us at, heartbreakingly enough, the right moment in our historical timeline.
In the 90’s, this musical may have painted an extraordinary portrait of early 20th century New York and the melting pot that was beginning to brew, and you can’t deny that Terrence McNally’s book of carefully woven plots and fully fleshed character arcs, and Lynn Ahrens and Stephen Flaherty’s score of power ballads filled with raw emotional lyricism and authentic era-defining compositions feel just as alive and, maybe even new, as when it made its premiere decades ago. But in the times we’re living in now, this musical has become heartbreakingly more relevant to so many individuals and groups out there, and seems to now be more of a major to call to action, and by the end, a hope for what we could be if we learn from the past, and that seems to be something this world forgets to do time and time again.
Lear deBessonet has made that painstakingly clear in the direction she’s taken this musical’s third Broadway outing in. But when you see the blood and sweat she’s put into this with her mind and heart, it’s like looking at something as magnificent as the ceiling of the Sistine Chapel. Every image, every scene, every solo, she’s coordinated and collaborated on with her entire team (cast and crew) feels like painting; individual paintings of yearning, rage, romance, prosperity, and fragility that are so explosive that your emotions are left to their own devices. I have never been this mesmerized by an LCT show in the years I’ve been coming to their campus. If the season keeps turning out the work it appears to be turning out, I think deBessonet’s got the Tony locked in because this is some serious grade A staging she’s conjured up, and I hope as she continues to serve as artistic director over there, she’s just gonna get better and better.
And the team she’s assembled did some serious homework and have transported us entirely to the prewar era. David Korin’s minimal, but still eye popping, sets, Linda Cho’s incredibly accurate and sublime costuming, and Ellenore Scott’s fluctuating styles of choreography (from basic movement to vaudeville to a list of many dances associated with ragtime music itself) bring the beginning of the century to four-dimensional life on the three-sided Beaumont stage. And in going back to that discussion of paintings for a hot second, the lighting by Adam Honoré really does its work at point accurate atmosphere and brings the emotional levels of the individual scenes and characters up an enormous notch.
But deBessonet’s greatest decisions she’s made in terms of team gathering: the cast. Everyone here plays their part, and they’re playing them to the maximum limit their energy can give without pause. Joshua Henry is a revelation as Coalhouse Walker, Jr., and he’s got the vocal prowess and the spirit to prove it. Nichelle Lewis, wickedly soul-stirring as Sarah. And when these two come together for “Wheels Of A Dream,” the house goes wild! Mother as portrayed by Cassie Levy is the living embodiment, musically, physically, and emotionally, of resilience and feminism as well as the reminder of what a little kindness and love can do for the world. Billy Cohen, covering for Brandon Uranowitz, gave so much driving spirit and unwavering determination as Tateh that you will root for him and his daughter from beginning to end. Ben Levi Ross’ Younger Brother, you will not believe how well you can see the arc he brings this character through; vividness in it is never off the table. And then Colin Donnell as Father, well you’ll want to hate him at first but slowly you’ll begin to see the transition, one that may give us hope that someone can change their mind out there. This entire company has worked their rear ends off for this. It shows so much that audiences are literally stopping the show with applause and ovations that are mightily deserved.
Whatever else comes along this season, I think I can say with certainty this “Ragtime” has my vote come June. This production cannot be ignored; it’s almost vital that it should be recognized with so much praise and respect. And even though it may be on a limited run, the memory of its power and influence will live on long after the curtain comes down one final time.
So if you want to see something theatrically groundbreaking, get over to the Vivian Beaumont before January. No regrets.
