Ragtime - Broadway

In a fall season with few new musicals, the Lincoln Center revival of Ragtime is the show to see.   I have seen Ragtime produced in all-sized venues, the smallest being less than 90 seats.  While the musical can work on all types of stages, it is meant to be seen in a large-scale production like at Lincoln Center.  It is powerful, and emotionally stirring theater.  Add in the ravishing score by Lynn Ahrens and Stephen Flaherty, and outstanding performances by Joshua Henry (Coalhouse Walker) and Cassie Levy (Mother) and you have a revival not to be missed.

 

The musical, based on the E.L. Doctorow novel, and centered at the beginning of the 20th century, presents what could be referred to as the American dream from three primary viewpoints.  The dream, however, is not always fulfilled or without pain.  It has an intricate plot with an absorbing libretto by Terrence McNally that chronicles the accounts of three groups.  There is the White upper-class family living in New Rochelle, New York.  They comprise Father (Colin Donnell), Mother (Cassie Levy), Little Boy (Nick Barrington) and Mother’s Younger Brother (Ben Levi Ross).  There is the Black populace struggling with acceptance as well as racism.  The key figures are Coalhouse Walker, Jr. (Joshua Henry) and his love, Sarah (Nichelle Lewis).  Lastly, the poor immigrants arriving in America.  The key character is Tateh (Brandon Uranowitz) and his daughter, Little Girl (Tabitha Lawing).  As Ragtime progresses, the plot merges together their separate storylines into a larger, more inclusive whole.  In addition, the show incorporates well-known historical figures, such as Henry Ford, Harry Houdini, Booker T. Washington, and Emma Goldman, that are woven into the narration and action of the musical.

 

The music and lyrics by Lynne Ahrens and Stephen Flaherty is their finest score in their decades long, illustrious partnership.  The songs drive the story forward while also defining a degree of complexity to the multitude of characters in the show.  The performer’s voices are strong and resonate deeply throughout Lincoln Center.  Within the musical, there are lofty ballads (“Your Daddy’s Son,” “Wheels of a Dream), tone-setting numbers (“New Music,” “The Night That Goldman Spoke at Union Square”), and comedic compositions (“Crime of the Century,” What a Game”).

 

Director Lear DeBessonet helms Ragtime with an assured confidence, whether they are intimate moments with the production or large-scale scenes with numerous cast members.  He shows his mettle right from the start as the three groups are introduced and then intertwine and crisscross with each other in a hesitant, but forward-moving procession.  The Director guides the show with passion and a steady pace, building to both a heart-wrenching finale for one story and optimism for another.  Ragtime, is not a dance-oriented musical, but Choreographer Ellenore Scott, nonetheless, gives the production some swagger throughout the show.

 

There is not a weak performance in the production, however there are three that are worth noting.  Cassie Levy, as Mother, brings well-bred poise to the role as the repressed New Rochelle matriarch.  She adeptly transforms from a meek, obedient wife to a confident, more free-thinking woman.   Joshua Henry imbues Coalhouse Walker, Jr. with charm, thoughtfulness, and fight.  He, along with Nichelle Lewis’ Sarah, are characters we come to care for and mourn.  Brandon Uranowitz delivers an impassioned performance as Tateh, full of angst and despair, but also exhilaration and contentment. 

 

The creative team’s impact greatly contributes to the success of the musical.  David Korins’ Set Design beautifully mirrors the ironwork motifs coming into vogue during this time-period.  Adam Honoré and Donald Holder’s Lighting Design is effective in pinpointing activity on stage.  Kai Harada’s Sound Design is perfectly modulated so you can actually hear the song lyrics.  Linda Cho’s Costume Designs and Tom Watson’s Wig, Hair & Makeup aptly showcase the couture of the early 20th century.

 

Ragtime, a show to savor, playing at Lincoln Center through June 14, 2026. 

 

The 25th Annual Putnam Country Spelling Bee - Off-Bway

The 25th Annual Putnam County Spelling Bee is a sure-fire show, always delighting audiences with Rachel Sheinken’s very funny book, and William Finn’s tuneful score.  The musical is continuously staged around the country, and now a superb production has landed Off-Broadway for a limited run.

 

Spelling Bee revolves around six elementary school students, misfits and outsiders, competing in the town’s annual Bee.  Sitting on bleachers in a school auditorium they take turns spelling, at times, incredibly difficult words.  Librettist Sheinkin has created rich characters with lovable eccentricities.  The interplay between contestants and judges, as the students ask for word definitions or use in a sentence, can be absolutely hilarious.  In Act II there is an underlying theme of melancholy as we learn more about each character, but never do these reflective moments take away from the lighthearted nature of the musical.

 

Sheinkin has also added a touch of audience participation where individuals from the

audience are seamlessly added to the performance.  They interact with the cast members, dance and are called upon to spell words, often with uproarious results.  Eventually, the “guests” are weeded out and the actors get down to business.  For the production at New World Stages, a celebrity guest has been added to the shenanigans.  At my performance, Michael Urie was called on stage, and treated like all the other “guests.”

 

The charming, perfectly cast group of performers, defines an ensemble effort.  They thoroughly blend together where the sum of the parts create a greater whole.  While all the performers are marvelous, three deserve special attention.  Kevin McHale, best known as Artie on the TV program, Glee, is terrific as William Barfee, a nebbish, self-absorbed student with a magic foot to help him spell.  Justin Cooley, who made a splash a few seasons back in Kimberly Akimbo, is excellent as the ingratiating, slightly askew Leif Coneybear.  Jasmine Amy Rogers is impressive as the reserved, mild-mannered Olive Ostrovsky.   Rogers, who was outstanding as Betty Boop in last year’s Boop – the Musical, is almost unrecognizable in her role.   The other “student” performers, all endearing with well-defined quirks and back stories are Philippe Arroyo as Chip Tolentino, Autumn Best as Logainne Schwartzandgrubenierre, and Leana Rae Concepcion as Marcy Park.  The “adult” characters also give notable performances - Lilli Cooper as the perky emcee and former Bee winner, Rona Lisa Peretti; Jason Kravits as the slightly agitated Vice Principal Douglas Panch; and Matt Manuel, who gives an energetic, athletic twist to comfort coach Mitch Mahoney.

 

William Finn’s score is tuneful, poignant, and full of humor.  While there are a few group numbers, most notably the entertaining “Pandemonium,” the majority of the songs both fully encapsulate each character’s unique background.

 

The strength of Danny Mefford’s direction and choreography is how effortless it unfolds on the small stage.  Every actor, whether alone or in the full cast production numbers, hits their mark with precision.  He seems to have given cast members leeway in improvising, but never to the detriment of his finely laid out agenda.  He also perfectly blends in the “guest” performers without losing a beat.  While the action on stage can sometimes convey bedlam or tumult, Mefford’s guidance is well-controlled commotion.

 

The 25th Annual Putnam County Spelling Bee, a winning production for audiences of all ages, playing through April 12, 2026 at New World Stages, conveniently located in the theater district.

 

All is Calm - Playhouse on Park

Theater in December is chock-full of holiday offerings.  A welcome addition is the engaging, rewarding All is Calm, playing at Playhouse on Park through December 21.  This short – 75 minutes, no intermission – production relates the true story of the Truce of 1914, where German and English troops, enmeshed in the trench warfare of WWI, paused hostilities on Christmas Day.  Over 100,000 men laid down their arms to fraternize, trade souvenirs, and even play soccer.  The show is  performed, mostly, via snippets of songs – war tunes and holiday melodies – by the first-rate, twelve-member cast.  The musical selections are at times rousing, comical, impassioned, and somber.  The singing is impressive throughout the show.  The vocal arrangements by Erick Lichte and Timothy C. Takach are striking.

Book writer Peter Rothstein has effectively structured the show into five “Acts,” which take the audience from the beginning of the conflict, through the truce, and, finally, the sad reoccurrence of fighting.  In just a short time, he has been able to dramatically highlight such topics as the futility of war and the sacrifices made by the younger generation.  He has interspersed dialog between the musical numbers - cast members recite fragments of letters or journal entries from soldiers in the conflict - which provide context to what’s happening and the temperament of the soldiers. 

Director Sasha Bratt has skillfully taken all the elements of the production and crafted an inspiring, moving production that shifts seamlessly from scene-to-scene, from song-to-song. Besides the large cast, they include Doaa Ouf’s beautifully scripted projections; Johann Fitzpatrick’s somber lighting scheme and simple, yet effective set design; and Micah Ohno’s accurate period costume design.

All the actors were superb - Bruce Barger, NicDaniel Charles, Charles Eaton, Kenneth Galm, Spencer Hamlin, Alex Hunt, Jeremy Luis Lopez, Ryan Phelps, Omar Sandakly, Luke Scott, Niko Touros, and Jermaine Woodard Jr.  Galm, Phelps, and Touros were notable in their portrayals of multiple characters.  Spencer, a trained opera singer, was brought down the house with his solos.

All is Calm, a show not to be missed.  Playing at Playhouse on Park through December 21.  The production is sold out, except, at this writing for the concluding performance.  Click here to see if tickets become available through cancellations.

 

A Christmas Carol - Hartford Stage

“The whole is greater than the sum of the parts,” is a phrase attributed to the Greek philosopher Aristotle.  Never is this more true than in the captivating, magical, and somewhat spooky production of A Christmas Carol, subtitled A Ghost Story of Christmas, at Hartford Stage.  This is the 25^th anniversary presentation of the Charles Dickens classic and, like fine wine, the show has aged with rich, smooth distinction.

Stuart Rider, Guiesseppe Jones and members of the Youth Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

All the creative elements in the production, are skillfully woven together by Director Michael Wilson, who also adapted the Dickens story into this theatrical presentation.  The work of the artistic contributors is critical to the success of the show:

 

·      Robert Wierzel’s Lighting Design dazzles with bright ghoulish colors illuminating characters and bathing the stage in stenciled patterns.

·      John Gromada’s Sound Design and Original Music is a cacophony of aural eeriness, which includes loud claps of thunder, and the shrill whistle of a steam-powered clock.

·      Tony Straiges’ Scenic Design, primarily of an elevated walkway, reminiscent of the Victorian era, also includes imaginative, playful props such as the tricycle of the Ghost of Christmas Past and the majestic thrown of Christmas Present.

·      Hope Clark’s original choreography, reproduced by Derric Harris, is full of macabre dances by a deathly group of skeletons.

·      Zack Brown’s Original Costume Design are sumptuously rendered, running the gamut from Victorian squalor to high society gowns to the whimsical and lavish attire by the Three Ghosts.

·      ZFX, Inc. Flying Effects could be considered the star of the show as they have the character of Jacob Marley soar above the stage and to the rafters.  His entrance through the stage floor is as theatrical as it gets.

 

For audience members unfamiliar with the story, a quick summary:

It is Christmas Eve and Ebenezer Scrooge, a greedy, self-serving owner of a money house, despises the holiday.  Bah, Humbug! he shouts.  His unpleasant nature is directed at all, especially his overworked clerk, Bob Cratchit, who after much complaining, lets him take off Christmas Day.

Noble Shropshire and Guiesseppe Jones in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

That night, at bedtime, he is visited by the ghost of his former partner, Jacob Marley.  Dead for seven years, he is bound in chains, a tormented apparition from his life of miserliness.  He tells Scrooge he will be visited by three spirits that night and can avoid his same fate by listening to these specters.

 

Noble Shropshire and Guiesseppe Jones in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The first spirit is the Ghost of Christmas Past, which fleshes out Scrooge’s past.  We see scenes from his childhood, his close relationship with his sister, Fan, and his ill-fated romance with his fiancée, Belle.  Angry and disconsolate, he is deposited back to his bedroom where the second spirit, the Ghost of Christmas Present, awaits.  Here, he is whisked to homes of people he knows who mock him, but also pray for his soul.  It is at this point, he learns about Bob Cratchit’s very ill son, Tiny Tim.  Without proper medical attention, the boy will die.  With the Ghost of Christmas Future, Scrooge is shown scenes of heartbreak and dejection, including the passing of Tiny Tim.  He vows to change his ways.

The Hartt School Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The next day, Christmas morning, Scrooge awakens a changed man.  Gregarious, yet humbled by his experiences, he begins to make amends for his previous unscrupulous behavior, which includes spending time with his nephew, making generous donations to the poor, relieving those in his debt, and paying his employee, Bob Cratchit, a living wage.

The cast of A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

The large cast, directed with precision and aplomb by Michael Wilson, who has guided his work with a practiced eye through years, is a seasoned and entertaining group of performers.  The notable performers are led by Guiesseppe Jones as Ebenezer Scrooge.  The actor’s portrayal is more menacing than just being unkind, but it adds an enhanced dramatic element to the play.  Noble Shropshire, who portrays both the flustered housemaid, Mrs. Dilbert, and the ghostly Jacob Marley, is an absolute marvel, providing sustained humor with the former, and chills and thrills with the later.

Guiesseppe Jones and members of the Youth Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The three ghosts also play two roles each.  Rebecka Jones is pleasing as Bettye Pidgeon, a street peddler of dolls, and sprightly as the Spirit of Christmas Past.  Stuart Rider is satisfying as the cart vendor Bert, purveyor of fruits and nuts, and suitably regal as the Spirit of Christmas Present.  Lastly, Daniel Madigan is fetching as the street merchant, Mr. Marvel, and downright spooky as the unspeaking Spirit of Christmas Future.

The cast of A Christmas Carol: A Ghost Story of Christmas.  Photo by T. Charles Erickson.

A Christmas Carol, playing at Hartford Stage through December 28.  Click here for dates, times, and ticket information.

 

                            

White Christmas - Goodspeed Opera House

The Goodspeed Opera House’s production of White Christmas is a winning holiday treat.  Based on the 1954 movie of the same name, the musical contains a bevy of Irving Berlin’s memorable tunes (“Happy Holidays,” “Falling Out of Love Can Be Fun,” “Blue Skies,” and, of course, the iconic title song), a number of great dance numbers, and a cast bubbling over with enthusiasm.

Omar Lopez-Cepero, Clyde Alves, and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

 

The book by David Ives and Paul Blake, is a faithful adaptation of the movie.  Former Army buddies Bob Wallace and Phil Davis, have become big-time entertainers after serving in WWII.  Wanting to add a new act for their upcoming stage show, they scout the Haynes Sisters, nightclub performers Judy and Betty.  After the floor show, the four have drinks.  Phil and Judy hit it off immediately, while Bob and Betty start out on the wrong foot.  The men ask them to come to Florida where they’ll begin rehearsals for a new act.  The women, however, have a gig in Vermont.  Through a bit of deception, courtesy of Phil and Judy, the foursome end up at a cozy hotel in the Green Mountain state.  Unfortunately, there’s been no snow.  Cancellations are piling up and the entertainment is being scratched.  But just a minute!  Bob and Phil concoct a plan to bring their show from Florida to Vermont to rehearse and, more importantly, fill the rooms with paying customers.  The owner, who just happens to be their former commander in the Army, is not too pleased at first, but is convinced by his housekeeper, Martha, and granddaughter Susan, to let the entertainment commence.  By showtime, Phil and Betty are engaged and, after a number of bumps in their relationship, Bob and Judy realize their love for each other.  Oh, yes, it snows just in time.

 

White Christmas marks Director Hunter Foster’s third Christmas-themed show at Goodspeed, the other two being A Christmas Story and A Connecticut Christmas Carol.  This background gives him keen insight into delivering a crowd-pleasing production.  The show is a well-paced, joyful celebration.  What I have admired about Hunter’s career is the way he amplifies a small aspect of a show that ends up delivering pure comic gold.  In White Christmas, this is exemplified with the character of Ezekiel Foster (Jay Aubrey Jones), an employee of the New England Lodge.  His droll, measured responses, and lumbering gait, are hilarious.

Clyde Alves, Jonalyn Saxer and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

Foster seamlessly incorporates Choreographer Kelli Barclay’s superb dance numbers into the production.  They run the gamut from intimate nightclub routines (“Sisters”) to a jazzy “Blue Skies” to the high-spirited tap dancing of Act I’s “Let Yourself Go” and the Act II opener, “I Love a Piano.”  Both numbers bring down the house.

Lauren Nicole Chapman and Jonalyn Saxer in Goodspeed's White Christmas. Photo by Diane Sobolewski.

What separates Goodspeed’s White Christmas from other productions I’ve seen over the years, is the very believable chemistry between the four leads.  The foreplay and eventual coupling of Bob Wallace (Omar Lopez-Cepero) and Betty Haynes (Lauren Nicole Chapman), and Phil Davis (Clyde Alves) and Judy Haynes (Jonalyn Saxer) advances naturally, and comes across as credible and convincing.  Each of the performers have superb voices, providing rewarding renditions of all the marvelous Irving Berlin tunes.  Alves and Saxer are also accomplished hoofers, dancing up a storm, primarily in the “I Love a Piano” number.  

Aurelia Williams in Goodspeed's White Christmas. Photo by Diane Sobolewski.

Aurelia Williams instills the character of Martha Watson, the aide-de-everything at the hotel, with a brassiness and acerbic wit that steals the show every time the spotlight shines on her.  And, what a singing voice!  Other members of the featured cast that deserve mention are Bruce Sabath as the  General with-a-heart, and Sofie Nesanelis, as his frisky granddaughter, Susan Waverly.

Omar Lopez-Cepero and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski. 

David L. Arsenault’s Scenic Design provides a delightful variety of sets, which include nightclub settings, the inside of a train, and the interior of a barn, where all the magic of the show takes place.  The show is effectively lit by Kirk Bookman & Nathan W. Scheuer’s Lighting Design.  Jay Hilton’s Sound Design is pitch perfect.  Jeff Hendry’s Costume Designs, which include an assortment of rehearsal garb, dressier outfits, and holiday fare, are handsomely rendered.

The cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

White Christmas, playing at the Goodspeed Opera House through December 31.  Click here for dates, times, and ticket information.

Two Strangers (Carry a Cake Across New York) - Broadway

The saying, ‘big things come in small packages” is never more true than in the new musical comedy, Two Strangers (Carry a Cake Across New York).  The two-person show, which plays like a fairytale movie romcom, is endearing, heartfelt, and a little bit magical.  You will not leave the theater (or for that matter, during the show) without a smile on your face and a twinkle in your eyes.

The engaging book by Jim Barne and Kit Buchan, who also wrote the upbeat score, concerns Dougal, a late 20 year-old Brit who has come to U.S. to attend his father’s wedding.   The young man has never met or even been acknowledged by this dad.  Nonetheless, he is over-the-moon about the upcoming nuptials and arriving in The Big Apple.  Dougal is played by Sam Tutty, whose exuberance and boyish charm are infectious.  From the moment he belts out the high-spirited opening number, “New York,” he has won over the audience.  Meeting him at the airport is Robin, also in her mid-20’s, and the younger sister of the bride.  A running joke is Dougal referring to her as “Auntie.”  Christiani Pitts, in the role of Robin, (who New York audiences may remember from her role as Ann Darrow in the short-lived King Kong), is a cynical, tough New Yorker on the outside, and a self-doubting Brooklynite on the inside.  While she initially appears as a hardened soul, the actress effectively teases out the role to, eventually, imbue the character with warmth and determination.

After picking up Dougal, Robin wants to just go back to her unappealing life, working as a barista in a coffee shop.  Dougal wants her to see the town with him.  After some playful bickering, she acquiesces, to a degree, but does let him help her pick up the wedding cake.  Spoiler alert – they don’t carry it across New York, but the scene does set up the story for the remainder of the musical.  Barne and Buchan could have settled for the libretto to just be stuffed with silliness and inane adventures.  The twosome, however, have fleshed out the backstory of each character and storyline.  Everything is not what it appears, which provides for a more realistic, honest encounter, and fulfilling ending.

 

As mentioned, the duo also wrote the music and lyrics.  Many of the numbers are beautifully rendered with optimistic, hopeful tunes mixed in with lighthearted and endearing songs.  One word to describe the score – refreshing.

 

Director/Choreographer Tim Jackson skillfully guides the musical to its gratifying conclusion, a difficult task for a two-person show.  His choreography is muted, but provides the occasionally energetic boost to the production.  He adeptly incorporates Soutra Gilmour’s whimsical Scenic Design – two pyramids of suitcases atop a rotating stage – and Jack Knowles sharp Lighting Design to create a show that appears larger than its small scale.

 

Two Strangers (Carry a Cake Across New York), a show not to be missed, playing at the Longacre Theatre on Broadway.

Art of Murder - Seven Angels Theatre

There are three essential ingredients for a murder mystery to work on stage:

1. The believability factor
2. The understandability of the plot
3. Some twists and turns

The Art of Murder, playing at Seven Angels in Waterbury through November 30, contains all three, making it a diabolically entertaining show.  It’s not a whodunnit, but a whydunit.  Playwright Joe DiPietro - Broadway (Nice Work If You Can Get It – book, Memphis - book and lyrics), Off-Broadway (The Toxic Avenger - book and lyrics; I Love You, You're Perfect, Now Change - book and lyrics) – has infused the show with comedy and drama, which allows for a more relaxing theatrical experience.

 

Without giving away much of the intrigue, the action takes place in the living room of a quaint Litchfield County home, impeccably rendered by Scenic Designer Kimberly Jackson.  An appealing detail by Ms. Jackson is the inclusion of paintings from the Mattatuck Museum that decorate the walls.  Uber artist, Jack Brooks, an arrogant, ego-centric painter, resides in the abode with his wife, Annie, an artist in her own right, and live-in maid, Kate.  A visit by Jack’s New York City art dealer, Vincent, is the catalyst for, as the saying goes, the plot to thicken. 

 

The strength of Art of Murder is the number of deceptions and artful trickery permeating the script.  Just when you think the play will tilt one way, it takes a sharp 180-degree turn.

 

Director Travis Kendrick-Castanho keeps the constantly changing machinations at a well-paced tempo.  His decision to have of Jack (Constantine Pappas) and Vincent (Tom Simonetti) play their roles in a more over-the-top manner enlivens the production.  He incorporates Charles O’Connor’s Lighting Design and his own Sound Design to effectively add a spine-tingling jolt to the show.

 

The cast is game for whatever comes their way.  Charlene Hong-White is suitably deceptive as Annie, delectably imbuing her character with both submissiveness and strength.  Tom Simonetti is delightfully bombastic, providing vitality and comedic affectations as Vincent.  Gemma Berg, in the underwritten role of Kate is, nonetheless, an integral part of the thriller. Constantine Pappas, the Artistic Director of Seven Angels, deserves a special nod in the role of Jack, having to step in at the last minute to replace the actor Reid Sinclair, who was ill.  Even with script-in-hand, Pappas was able to portray the self-important artist with vivacity and zeal.

 

There are just a few performances remaining of Art of Murder, playing at Seven Angels through November 30.  Click here for dates, times, and ticket information.