Time for one of my long, rambling informal reviews! This one is for RAGTIME at Signature Theatre and unlike some of the other reviews I've written, this show is still running for 3 more weeks, but tickets are selling EXTREMELY fast, so I'd recommend you snap some up if you haven't already! I will add that Signature's discounted 'partial view' seats are extremely good value and actually not a bad view at all, so don't sleep on those.
TLDR: This show is absolutely amazing and totally does the material of one of my favorite musicals justice in an intimate, innovative staging.
Ragtime is one of those musicals with a name that belies the complexity and darkness of the subject matter (along with Parade and Carousel), and yet there's no other simple name that could tie together such a dense and varied piece of musical theatre. If you're not familiar with it, this musical set in the early 20th century follows three different groups in New York: a white suburban upper class family, a family of new Jewish immigrants, and a star-crossed young family in the emerging Black middle class of Harlem-- plus a half dozen real historical figures of the period. Their paths intersect and intertwine in many unexpected ways, changing all of their lives forever. Expect some very intense themes like racism, sexism, gun violence, and exploitation of the working class, but also moments of surprising levity and loveliness.
It's one of my favorite musicals of all time, but it's also so complex and such an example of the '80's-'90's megamusical' that it's expensive and tricky to stage. So you might not think of the intimate blackbox venue of Shirlington's Signature Theatre as a prime candidate for this piece. But I can report that director Matthew Gardiner and the whole cast and crew knocked this piece out of the park (teehee, yes, this musical has a song about a baseball game). It was a spellbinding night of theatre and there wasn't a dry eye in the house at the end of the show.
I've seen some other shows at Signature-- including Sweeney Todd earlier this season-- where the goal of 'get creative with the intimate space' actually distracted from the material, but the biggest sign that this staging worked was that I barely noticed it at all or thought 'ooh, what a creative idea'. It just... worked. Fitting 33 performers and a 16-piece orchestra onto a small stage, plus massive set pieces like a WORKING REPLICA MODEL T FORD (absolutely show-stopping when it drove out) without feeling cramped or sacrificing audience sightlines shouldn't have been possible, but it all flowed seamlessly. Actors hung around on the sidelines when not part of the action, observing and serving as a backing chorus. This was the first Signature show I've seen with a turntable stage and it helped the show glide from scene to scene without being overused or feeling gimmicky. The use of the aisle space, staircases, and sharing the upper balcony with the fully visible orchestra also served the piece well.
The arched industrial-chic design of the set feels gritty and elegant at the same time, easily standing in for a factory, seaside pier, tenement, ocean liner, or train station, with gorgeous lighting design by Tyler Micoleau adding to the seamless transitions between scenes. Sumptuous costumes by Erik Teague set the tone from the moment the show started. (Mother's dreamy outfits give her an extra shimmer while also giving the impression of extreme restraint; there are outfits for a person whose job is to be decorative rather than effective.) My only true complaint was the sound balance: at times, the orchestra and the backing vocals drowned out soloists. I'm sure it can be difficult to fine-tune this when you have a fairly large band in a small space where natural acoustics battle with amplification.
The theatre is so intimate that you can see the subtlest expressions in the characters' eyes and that makes Signature stand out among other local theatres as a place where musical theatre truly feels led by actors and not just spectacle. In a mega musical like Ragtime, that human element is desperately needed, and it's why this production and the one Ford's Theatre presented several years ago stand out to me as the best I've seen rather than the Kennedy Center production that transferred to Broadway.
Almost every single member of this cast was a standout, even the hardworking ensemble members. This is where I simply have to ramble on about everyone and how beautifully they acted and sounded. My personal favorite performer of the night, in a show more crowded with stars than a planetarium, was Awa Sal Secka as the desperate young mother Sarah. The challenging score sounded like it was written for her, which is saying something because her role was originated by Audra McDonald. Her powerful but sweet voice pours effortlessly from her mouth as though raw feelings have been distilled into pure music. Sal Secka’s simple, earnest characterization of the young woman is utterly heartbreaking. I won't spoil her character's trajectory, but expect to feel every possible emotion in the spectrum. She's incredible.
As her love interest and the show’s anti-hero, Coalhouse Walker Jr., Nkrumah Gatling is perfectly cast. I’ve rarely seen someone in a stage musical act so effectively with just his eyes, flitting from mischievously charming to stone cold in mere seconds. There’s an edge to his rich baritone that might remind you of Brian Stokes Mitchell, who originated the part, but he puts his own spin on the music and gives it a new texture. I’d have loved to have seen Gatling’s take on Sweeney Todd earlier this season. Still, I didn’t get the ‘main character energy’ from this character that I typically have in past productions. Rather than feeling like the show’s central figure, he blended into the rest of the cast—which may say more about how wonderful his co-stars were than any fault of his.
Teal Wicks did exude star quality as Mother, a disaffected housewife who awakes to the world’s injustices and starts to see her life through new eyes. She conveyed every turning point in her character’s life with clarity. Her mellifluous, creamy voice soars on big ballad numbers and her relationships with the show’s many characters feel fully realized. One of the only things I knew about her before seeing this show was that she had played Elphaba on Broadway in Wicked. But here she uses more of a classical-sounding mix voice that fits right into this antique setting.
Matthew Scott plays her stuffy husband, Father, as more sympathetic than I’ve seen before. He seems younger than most actors who’ve played this role (he and Wicks are both in their early 40’s, while I’ve often seen Father cast as significantly older than Mother), and as we see him try to fulfill his role as ‘patriarch,’ we can tell he’s insecure and uncomfortable there.
We had an understudy for the other major role, Tateh, a Jewish immigrant with big dreams and artistic gifts who wants above all else to give his daughter a better life. I was disappointed to see this because Bobby Smith, who usually plays the role, is one of my favorite local actors, but his understudy Edward L. Simon did an absolutely charming job. He imbues Tateh with an impish lightness at times that only make the dark moments more heartbreaking and nimbly navigates musical numbers with a lovely voice. Like many understudies, you could tell he was giving 110% at all times and his energy sparkled. Still, there were a few dramatic moments that I’d have loved to have seen given more power and the orchestra drowned him out more than any other character. I’m guessing that sound levels may have been calibrated to a performer with a bigger voice.
Simon is also by far the youngest-seeming Tateh I’ve seen. This works, adding to the earnest naivety his character shows when he first arrives in America, but I’d be so curious to see how the dynamic works with the usual actor, Bobby Smith, who seems to be about 30 years older than Simon. I’m so tempted to go see the show again with Smith and compare the two performances, but rest assured that if Simon is the understudy at your performance, the role is in deftly capable hands.
I loved Jake Loewenthal as Mother’s Younger Brother, an awkward young man in search for meaning in life. I previously enjoyed him as the Baker in Signature’s Into the Woods but thought, “This guy was born to play the Baker, but I can’t picture him in any other roles. He’s just TOO specific and TOO good as the Baker to play anyone else well.” I was wrong. He’s perfect here, filled with a tightly coiled intensity that is, in his character’s own words, ‘like a firework, unexploded.’ There’s a quirky piercing nasality to his voice, but it shines out in Younger Brother’s effusive self-discovery. Among other family members, Declan Fennell is adorable and NOT annoying as the family’s weird (and slightly psychic) little son Edgar and Lawrence Redmond is a hoot as the drily snarky Grandfather.
Among the smaller roles, standouts include Dani Stoller’s impassioned firebrand Emma Goldman, Jordyn Taylor as show-stopping soloist “Sarah’s Friend,” and Tobias Young’s Booker T. Washington, more memorable than I’ve ever seen this character portrayed. But more than any of these, Maria Rizzo stole her scenes as vaudeville sensation Evelyn Nesbit. She seemed to be having an absolute blast up there and gave the character both more depth (hints of trauma!) and risqué sultriness than I’ve seen before. If sometimes she verged into showboating, I couldn’t possibly complain. She was just too much fun to watch.
This is a score full of HARD-HITTING ballads and intense big production numbers, with almost every number including dramatic swells of the orchestra and singing to the rafters. Every time you think you've seen the showstopping number of the night, another one comes along to blow you away. Some of the standout songs in this piece include Sal Secka's haunting lament "Your Daddy's Son," Wicks' journey of self-discovery in "Back to Before," Gatling's anthem "Make Them Hear You" and the adrenaline-pumping duet "Wheels of a Dream," but you will find that some of the smaller numbers between them will also send chills down your spine and bring tears to your eyes. One of my personal favorites was the sweet duet "Our Children," which sees the spark of a potential relationship forming as two parents watch their children play together.
What does this show say about America? Basically everything up to and including the kitchen sink. Is it a land where people can triumph against adversity and succeed? Yes! Is it is a place where dreams are broken and crushed by reality? That, too! Is it a place where understanding can win out over hate and people find they’re more alike than different? Yes! But is it a place where hatred and bigotry can tear lives and families apart in the blink of an eye? Yes! Is there a hope of a brighter future for the country? Yes! But do we see the struggles of present day reflected in these characters from over a century ago? A resounding yes. Every audience member will come away with different moments resonating in their minds, but the rich tapestry of humanity in all its strengths and flaws showcased in this production is a marvel to behold.
I’m attaching a few clips from the show in the comments so you can see some of what it was like for yourself! Please consider seeing this show if you can. It’s the most powerfully affecting piece of musical theatre I’ve seen in the DC area since before the pandemic and will no doubt stick with you long after the cast takes its last bow.