The raw energy in the room started to build by the minute; knowing smiles spread around the room, like a contagious precursor of the coming attraction. For as much as we thought we were ready, nothing could prepare us for what we were about to experience. Nothing.
Ragtime is a musical with a book by Terrence McNally, lyrics by Lynn Ahrens, and music by Stephen Flaherty. The music includes marches, cakewalks, gospel and ragtime and the production is mostly sung-through.
Based on the 1975 novel by E. L. Doctorow, Ragtime tells the story of three groups in the United States in the early 20th century: African Americans, represented by Coalhouse Walker Jr., a Harlem musician; upper-class suburbanites, represented by Mother, the matriarch of a white upper-class family in New Rochelle, New York; and Eastern European immigrants, represented by Tateh, a Jewish immigrant from Latvia.
Historical figures including Harry Houdini, Evelyn Nesbit, Booker T. Washington, J. P. Morgan, Henry Ford, Stanford White, Harry Kendall Thaw, Admiral Peary, Matthew Henson, and Emma Goldman are represented in the stories.
It was February 18th. The wind had died down, and the temperature was pleasantly brisk. We jumped in line for will call at precisely 8 pm. The line snaked its way through the Lincoln Center lobby and into the adjoining hallway. Luckily, the Lincoln Center staff worked efficiently, directing and processing so that by 8:05 we were in our seat. Shortly after that the lights dimmed, the cast began to file in, and the conductor raised her baton to signal the beginning of that heartfelt score we love so much. Everything was falling into place. And just like that, it began. The opening number proved that every member of the cast, hand selected was meant for that moment and for that role. Their warm, emotive voices rose and intertwined, blending and flawlessly bouncing off the beautifully sculpted walls of Avery Fisher Hall at Lincoln Center.
Lea Salonga who portrayed Mother and Michael Arden as Younger Brother were the first standout stars of the night. Salonga delivered powerful performances, effortlessly it seemed, with What Kind of Women and Back To Before. Arden held his own as well, spiriting us off on his journey. We felt for him; we craved his passion for justice and a longing for a fulfilling love of his own. Honestly, Lea and Michael were the best Mother and Younger Brother we’ve ever seen.
After being introduced to those two, came to soulful Patina Miller with her classic rendition of Daddy’s Son. She didn’t worry about filling the shoes of Audra McDonald who originated the role of Sarah. She created her own Sarah in every way possible. Her voice brought something different but just as compelling to the character. She captivated the massive audience and made us forget we’ve ever heard the song before. We would love to have her serenade us again and again. Her performance was above and beyond what we expected, and we already expected great things from her in the future.
The remaining ensemble cast shined. Using simple choreography, the ensemble filled the space and created a sense of atmosphere and community. Moments from Gettin’ Ready Rag and Till We Reach That Day made us laugh and brought us to tears. And what to say about the powerhouse that is NaTasha Yvette Williams who closed out the end of ACT 1. She stirred souls with her melodic rifts. We bow at her feet for bringing down the house the way she did. Phillip Boykin, who portrayed a very stoic and upright Booker T. Washington was very fitting and complimentary to the book and score. His deep baritone voice resonated and made us long for more.
We saved the best for last; the portrayal of Coalhouse Walker Jr by Norm Lewis knocked the socks, shoes, hats, gloves, pants, shirts, and bow ties off of everyone in the house. He was OFF BOOK for most of the show. As everyone totes around their score to make sure they are following along, he was “No, thanks. I know this very well.” Astoundingly, he did know it. It was as if it was in his veins, like, he was meant to play this role, and it was written specifically for him and his voice. Before the show, we ran into Lewis at the 96th Street Station, and he just seemed ready. He had a smile on his face and a calm demeanor about him. He was Coalhouse through and through even then. His voice stopped hearts with Wheels of A Dream, and he made us remember why we all fell in love with this musical those so many years ago with Make Them Hear You. Completely Outstanding.
We said all this to say; we need this cast album. We hope that someone recorded it and will release it. It needs to be shared with all the world. People were begging for tickets on the outside and having been on the inside; we’re still asking for more. We are delighted we were fortunate enough to see it.
A humongous thank you to Manhattan Concert Productions who organized this event!
