The immigrant experience comes forcefully
alive the in the heavily reworked, mostly successful production of the musical Rags, playing at the Goodspeed Opera
House through December 10th.
The original 1987 Broadway production is one of the biggest flops in
musical theater history, closing after a mere four performances. The main culprit was the book by Joseph Stein
(Fiddler on the Roof), which was hard
to follow with too many subplots and a lack of a compelling dramatic arc. In the Goodspeed version, the original narrative
has been revamped to make it easier to follow.
While improved, with more balanced story telling, there is still a lot
for the audience to digest.
The plot centers on Rebecca, her son
David, and a friend Bella as they head to the new world. Upon arriving at Ellis Island they are met by
Bella’s father, Avram, and then taken to the cramped apartment of Anna and Jack
Blumberg, Avram’s brother and sister-in-law. Here, they eke out a living hand stitching
dresses for the mogul Max Bronfman, who also has an eye for the captivating Rebecca. Helping out the family is Ben, a young man
trying to court Bella under her father’s disapproving eyes. Completing, and
complicating, the picture is Sal, an Italian immigrant concerned with rallying the
“Greenhorns” for better pay and working conditions. The new arrivals begin to feel at home as
dreams of a better life take hold, until a cataclysmic event changes lives
forever.
The revised book by David Thompson advances
smoothly and naturally. He has reworked
plot lines, reconfigured some player’s roles, and added additional
characters. There are still too many
plot lines but, overall, there is a pleasing, down-to-earth feel to the story. The structure of the show also puts a
spotlight on the plight of the recent arrivals, their struggle to assimilate,
and the scorn and disdain they experience from the populace. This aspect of the show, sadly, has a
present-day feel to it.
The songs, with music by Charles Strouse (Bye Bye Birdie, Applause, Annie) and
lyrics by Stephen Schwartz (Godspell,
Pippin, Wicked), is the strongest element of the show. There are numerous musical styles incorporated
into the beautiful and melodic score. Many
of the compositions are infused with undertones of Klezmeir music. The numbers, which also includes Broadway
styled standards, are impassioned and powerful and demonstrate what musical
theater veterans can bring a production.
The cast is led by Samantha Massell as
Rebecca Hershowitz. She exudes the fervor
and excitement of entering immigrants.
The actress possesses an exquisite voice and brings a strong-minded
independence, sobering genuineness, and courage to the role. Sean MacLaughlin’s
Sal Russo is strong and passionate as he rallies for worker rights. He brings a compassionate zeal to the role
while, at the same time, attempts to woo Ms. Massell’s character. Sara Kapner
as the fiery Bella Cohen and Nathan Salstone as Ben Levitowitz, an Irving
Berlin styled songwriter, are delightful as the secondary comic, yet star-crossed
couple. David Harris, a frequent
performer on Connecticut stages, gives an aristocratic affection to the
character of Max Bronfman, a dress manufacturing mogul with salacious and dishonest
intents. Adam Heller, a past Connecticut
Critic Circle winner for his role as Teyve in Goodspeed’s Fiddler on the Roof, once again shows his pious nature and comic gifts
as the overly protective father, Avram.
His devastating silence near the musical’s end speaks volumes. Emily
Zacharias is suitably mother as Anna Blumberg and Mitch Greenberg injects
comedic bon mots as husband Jack Blumberg.
Lori Wilner is endearing as Rachel Brodsy, Avram’s soon-to-be love
interest and Michael Camporin is effective as tween David Hershowitz.
Director Rob Ruggiero, who has helmed
many first-rate productions at Goodspeed over the years, once again shows his flair
for the musical theater form. The show
pulsates with the rhythms of the New World.
There is an easy flow to the progression of scenes. With multiple threads to the story, he
provides the supporting characters enough time on stage to develop their
portrayals. Ruggiero has not totally solved the problems inherent in the book
of the show, but he has worked through the problem with skillful pacing and
eliciting impressive performances from his acting troupe.
Scenic Designer Michael Schweikardt’s set
keeps with the unpretentious and humble times of the era, including the
confined tenement apartment and street life of Orchard Street.
Costume Designer Linda Cho has crafted a
superb array of outfits. They run the
gamut from simple clothing one would see on the Lower Eastside of New York City
during the early 20th Century to luscious high society gowns.
Rags, a rarely seen
musical being given a gratifying and worthy production through December 10th.
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