Ragtime

Spring of 1998. I remember it like it was yesterday. My second trip to Broadway ever was a 7^th grade music trip to see Ragtime. At the time it was a feast for the eyes, an over-​the-​top set, fireworks, and a real Model T left all of us young’ns enamored with a love for broadway that would ultimately wipe out our daddy’s wallets. We were lucky enough to see it with the original cast when Brian Stokes Mitchell was rocking the musical theater scene and half the cast were nominated for Tonys. The historical aspect of the show allowed us even at the age of 13 to understand it’s significance, and the performances were absolutely out of this world. This show since it’s original opening has always kind of faltered, whether for budget reasons or it’s having been overshadowed by other blockbuster performances. I had heard mixed reviews on the reproduction of Ragtime, so I never made it a point to get to the city to see it, however still hold other performances to the standard of this show as it stuck so dearly in my memory of the way that old time broadway should be.

Ragtime was one of the strongest Broadway shows I’ve seen in years. The show drew me in, in a way that few other shows have. The actors — particularly the young boy — were superb. The historical setting is also surprisingly relevant today.

GO! A great evening in the theatre, and a return to a true Broadway production value: 30 pieces in the pit, the cast terrific across the board, and spot on direction.
I hated the original production, finding it a bloated and overproduced spectacle, at the expense of truly telling the story. THIS production succeeds on every level. The cast members are SINGING actors The set is extremely versatile, using its spare design to great effect via the lighting, set pieces and choreographed movement which defines the many shifting locations. This is a Ragtime on Broadway that succeeds in focusing the myriad storyline threads into a tapestry that is truly moving.
I am hoping the trend I have seen this season signals the end of casting celebrity «names» who have no stage training, or aptitude for the craft needed to create a a genuine Musical Theatre performance. This RAGTIME joins WHITE CHRISTMAS and FINIAN’S RAINBOW in showcasing the talent level needed for a true musical theater experience.

My best friend and I have been looking forward to this show opening for months now. Our expectations were very high (I mean Audra McDonald and Brian Stokes Mitchell were in the original cast, so that is a lot to live up to).
The orchestra was beautiful and the music and story are wonderful. Vocally I thought the performers were very strong. Bobby Steggert as Younger Brother was absolutely amazing and should, at the very least, be nominated for a Tony for his performance.
Unfortunately many of the other performers were lackluster and the show was really missing the spectacle that you expect it to be. We decided to call this Ragtime (the recession version) or Ragtime Lite.
I didn’t hate it by any means, but it didn’t live up to expectations. It is a beautiful show though and I would still recommend seeing it.