Terrence McNally's script for the musical version of Ragtime, taken from E. L. Doctorow's popular novel from the mid 1970's, attempts to squeeze as much information out of the book as possible. It succeeds, where the movie adaptation failed, in capturing the full spectrum of Doctorow's work, but it's almost too much to take in one bite, and with the sheer volume of songs by Lynn Ahrens (lyrics) and Stephen Flaherty (music), it very nearly overwhelms. The Washington University Performing Arts Department, in conjunction with the Black Rep, is presenting a well mounted production directed with considerable flair by Ron Himes.
Ragtime follows three groups of Americans as they struggle with social and political issues at the turn of the 20th Century. White America is represented by a WASP-ish family living in New Rochelle. Black America comes in the person of Coalhouse Walker, Jr., a gifted pianist. The immigrant factor finds its voice in Tateh, a Latvian Jew. Over the course of about three hours or so, we watch as these diverse character's paths begin to cross unexpectedly. Along the way characters from history like J.P. Morgan, Henry Ford, Booker T. Washington and Harry Houdini also make appearances. There's plenty of tragedy to go around for everyone, but there are enough hopeful and heartwarming moments to make the journey worth taking.
Renae Adams does strong work as the Mother of the family living in New Rochelle. She's especially sharp on the emotion packed number "What Kind of Woman". Jonathan Foresythe is good as her uptight, but ultimately fair-minded husband, and Barry Cordes is properly crotchety and opinionated as Grandfather. Matthew Howard amuses as their son. Peter Winfrey is the younger brother who decides to follow his political heart instead of the "crime of the century" girl, Evelyn Nesbitt, well played by Catherine Morten.
Shaun Hudson brings a quiet dignity and depth to his role as Coalhouse. You can sense his frustrations at the curves that life has thrown him, and you feel for him when he decides on a desperate course of action in order to exact some measure of justice. Janessa Morgan excels as Sarah, who reluctantly courts the once wayward, but now reformed Coalhouse after she bears his child. Micah Herstand is a nice fit as the much-beleaguered immigrant Tateh. He comes to New York with dreams of success, but struggles almost immediately before stumbling into something profitable.
Standing out in support among a very large cast are: Malcolm Foley as Booker T. Washington, preaching peaceful solutions to ever mounting race issues; Daniel Davis as Harry Houdini; and Carolyn Schulmann as the outspoken Emma Goldman.
Director Ron Himes does a fine job staging this sprawling saga, often delivering dazzling tableau's across the vast expanses of Jim Burwinkel's spectacular set design. There are some uneven aspects to the performances, but this is generally solid work. He's aided by Millie Garvey's inventive choreography, as well as Sean Savoie's dramatic and moody lighting scheme, and Bonnie Kruger's period perfect costumes. Charles Creath's stellar music direction features his own exceptional work on piano, as he emulates Scott Joplin's uniquely syncopationed style.
This is an ambitious co-production, and the presence of an actual Model T on stage is just one of the many treats in store for those inclined to attend. Though the score is uneven overall, and a bit repetitious in spots, the moments when actual melodic fragments of Joplin's songs are utilized are priceless.
Ragtime continues through November 1, 2009 at the Edison Theatre on the campus of Washington University.
