Ride on the Wheels of a Dream at CPT's Ragtime

The first time I ever heard a song from Ragtime, I was immediately obsessed. I was in high school and "Your Daddy's Son" would be on repeat for the next few years of my life. But silly me never really put much thought into listening to any other songs from the show or even learning what it was about. But after Saturday's showing of Ragtime and Centerpoint Legacy Theatre, I finally understand what I've been missing out on.

Ragtime, with a book by Terrence McNally and music and lyrics by Stephen Flaherty and Lynn Aherns, is the story of America at the turn of the century told through the eyes of three different groups of people: Mother, Father and Younger Brother in New Rochelle, Coalhouse and Sarah in Harlem and Tateh and Little Girl as they emigrate to New York from Latvia. Based on the novel of the same name by E.L. Doctorow, Ragtime has historical figures from the time sprinkled throughout the show to give you a feel for what was going on in politics, entertainment and culturally, but the focus is on Mother and Coalhouse. Throughout this show you see how Mother's life and perspective is shifted by her interactions with those around her. Through Coalhouse's story you see the darkness that existed then and continues to lurk in the corners of our world today, but you also see perseverance in the face of adversity.

Annie Ferrin as Mother was, for lack of a better, less cliched "theatre reviewer" word, transcendent in this role. You could tell that every action and every note had been written on her soul. The stage was nearly empty when she sang "Back to Before," but she filled it with her voice and her emotion. The character of Mother acts as the glue of Ragtime - she unites all of these different worlds and Ferrin's portrayal was beautifully done. Olivia Lusk as Sarah was stunning. Her presence in every scene - whether she was singing or simply just there - was powerful simply in how she used her facial expressions or posture. Her voice was strong and expressive. Lusk's representation of Sarah was a joy to watch.

Shelby Ferrin as Tateh was amazing. His intentions in every scene were as clear as the notes in his songs. He was determined to make America into the place he dreamed it could be and Ferrin's altruistic portrayal of this sweet father was so delightful. Kiirt Banks as Coalhouse was incredible. His singing was remarkable and full of feelings. Banks' multifaceted depiction of Coalhouse was exactly what the character needed to be believable - gentle and patient with Sarah and his child, kind with Mother and Younger Brother, but full of rage when treated as less than.

The ensemble in this show was unbelievable. I could possibly have been experiencing that magical energy that accompanies opening night, but it also felt like every actor was so invested in telling this story that they had no choice but to sing their heart out. A real standout number was "Till We Reach That Day" with Act I Soloist Janzell Tutor - if you weren't already feeling a little misty, that number surely got the tears flowing. Really incredible work from a really great company.

This is a musical with a really clear, really important message that has to be communicated effectively or the impact is lost. I'm sure this was no easy task, but it was magnificently handled by Emily Wadley (Director), Derek Myler (Music Director) and Tara Wardle (Asst. Music Director). The choreography, provided by Marilyn Montgomery and Sarah Martin, was simple but impactful and helped bring this story even further to life. I particularly enjoyed how the opening scene was choreographed - the movements of each group as they are introduced was so interesting especially from the higher vantage point in the balcony.

The set design by Ron Nelson was genius. With small pieces that could be used individually or grouped together to make a bigger scene - it allowed for a true shift from scene to scene. The way the train platform was set up in "Nothing Like the City" was clever and inventive. The lighting design by Mark Rencher really supported the story being told. The use of light to show gun shots or visions of people no longer there was creative. I loved the use of light during "The Night That Goldman Spoke at Union Square" - the way evil was shown in red sounds simple enough, but the way it helped tell the story was unique and awesome. The costumes by Tammis Boam were spectacular. Period appropriate, beautifully sparkly when acceptable and everything seemed to fit like a dream. Every detail was thought about and it showed.

We've talked enough in this blog about how much of a sap I am when it comes to musicals - I'll cry at anything, but this show felt different. I was emotional from the opening number and I didn't really know why, but as I was driving home and as I've spent the last day thinking about it, I think I'm starting to clue in to something. I think it's best summarized by part of the Director's Notes from the program:
"We can be changed by these splintered, conflicting and heartbreaking stories put before us if we realize their resolution lies among us." Stories of change are so powerful. They prove to us, no matter what we're facing in life, that something can be done to make things better. Ragtime shows how the change within just one person's heart can cause a ripple effect that can impact the world. It's an astonishing piece of theatre that is relevant, beautiful and, thanks to the efforts of this awesome cast, well done. Treat yourself to an amazing work of art and go see it.

Ragtime plays at Centerpoint Legacy Theatre from now to October 27, 2018. You can get your tickets here.