Ragtime - Goodspeed Opera House

Powerful.  Emotionally stirring.  Ragtime, playing at the Goodspeed Opera House, running through June 15, is one of their finest productions in recent memory.  The large cast is superb, with dynamic performances, voices that soar, and directed with great skill and passion by Christopher D. Betts.

 

The cast of Goodspeed's Ragtime. Photo by Diane Sobolewski

The musical, based on the E.L. Doctorow novel, and centered at the beginning of the 20^th 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 (Edward Watts), Mother (Mamie Parris), Little Boy (Sawyer Delaney) and Mother’s Younger Brother (Behr Marshall).  There is the Black populace struggling with acceptance as well as racism.  The key figures are Coalhouse Walker, Jr. (Michael Wordly) and his love, Sarah (Brennyn Lark).  Lastly, the poor immigrants arriving in America.  The key character is Tateh (David R. Gordon) and his daughter, Little Girl (Sofie Nesanelis).  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.

Michael Wordly (center) and the cast of Goodspeed's Ragtime. Photo by Diane Sobolewski.

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 the Goodspeed theater.  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”).

Behr Marshall, Edward Watts, Mamie Parris, Sawyer Delaney and Stephen Tewksbury in Goodspeed's Ragtime. Photo by Diane Sobolewski.

Director Christopher D. Betts 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 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 Sara Edwards, nonetheless, gives the production some swagger throughout the show.

Sofie Nesanelis, David R. Gordon and the cast of Goodspeed's Ragtime. Photo by Diane Sobolewski.

There is not a weak performance in the production, however there are five that are worth noting.  Mamie Parris, 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.   Michael Wordly imbues Coalhouse Walker, Jr. with charm, thoughtfulness, and fight.  He, along with Brennyn Lark’s Sarah, are characters we come to care for and mourn.  While all the actors and actresses have beautiful voices, Ms. Lark’s singing almost raises the rafters in its power.   David R. Gordon delivers an impassioned performance as Tateh, full of angst and despair, but also exhilaration and contentment.  The young Sawyer Delaney, in the small role of Little Son, injects a modicum of humor and delight throughout the show.

 

Mia Gerachis and the cast of Goodspeed's Ragtime. Photo by Diane Sobolewski.

The creative team’s impact greatly contributes to the success of the musical.  Emmie Finckel’s Set Design beautifully mirrors the ironwork motifs coming into vogue during this time-period.  Charlie Morrison’s Lighting Design is effective in pinpointing activity on stage.  Jay Hilton’s Sound Design is perfectly modulated so you can actually hear the song lyrics.  Stephanie Bahniuk’s Costume Designs and Tenel Dorsey’s Wig, Hair & Makeup aptly showcase the couture of the early 20^th century.

 

Michael Wordly and Brennyn Lark in Goodspeed's Ragtime. Photo by Diane Sobolewski.

Ragtime, a show to savor, playing at the Goodspeed Opera House through June 15.  Click here for dates, times, and ticket information.

Fool's Paradise - Thrown Stone

Fool’s Paradise, receiving its world premiere at the Thrown Stone theater company, begins with an interesting premise.  Two couples, vacationing at an eco-friendly, all-inclusive resort in the Caribbean, are suddenly plunged into chaos when a nuclear disaster occurs on a nearby island.  Communication to the outside world becomes non-existent.  The extent of the catastrophe is unknown.  How do they handle their new reality?  For the most part, without that much of a sense of urgency.  That is my main issue with the show.  With the way playwright Jonathan Winn has set the stage, only one character, Lorraine (Dana Eskelson), the wife of the older couple, is at all horrified as she continually frets about the safety of her son on the mainland.  The other characters are more at ease with the upheaval in their lives.  Bill (Steven Hauck), Lorraine’s husband, and owner of the travel agency that booked the excursion, believes (maybe pretends) there’s not much to worry about.  Wendy (Julia Atwood), the young wife of Marc (Alan Hayhurst), who scrimped for a year to afford the trip, is levelheaded until a momentous announcement late in the show.  Marc, who has been out-of-work for over a year and wants to save the world – literally – pivots from contentment to naïve espousements.

 

As the play progresses, Winn has not introduced much drama among the foursome even though the fate of the world may be at hand.  They snorkel, play cards.  Towards the end of the play, there is a twist, but that only leads to marital discord and discussions of changes in domestic life.  There are too many incongruities in the plot and situation that keep popping up.  What is going on with the other guests and staff in the hotel where there still might be hundreds of people?  Is anarchy breaking out?  There is not a sense of danger until the abrupt conclusion.  Characters appear in hazmat suits.  Where did these garbs come from?  If there is radiation, wouldn’t their suits possibly irradiate the others upon their return to the hotel suite?  A birthday cake is whipped up by the pastry chef three weeks into the catastrophe.  Wouldn’t food start to be rationed?  The uncertainty of time is always at the fore, which makes it hard to follow the events that are unfolding. 

 

Director James Dean Palmer lets the action evolve at a steady, yet nondescript pace.  He incorporates characters in costumes – the aforementioned hazmat suits and snorkeling attire – to add diversion.  Sometimes characters, most notably Lorraine, speak away from the audience, making it hard to hear.

 

The cast is fine, but come across as more two-dimensional persons.  Their performances would have benefitted with more of a backstory or complexity they could latch on to. 

 

The set design by Marcelo Martinez Garcia is lavish and worthy of a well-heeled resort, but it is almost too large for the stage. 

 

Even with all the issues with the production, Fool’s Paradise does deserve more developmental work.  There is a show of substance lurking behind what is currently on the stage.

 

Fool’s Paradise runs through May 10 at Thrown Stone theater in Norwalk.  Click here for dates, times, and ticket information.

33rd Annual Connecticut Critics Circle Awards - Monday, June 23, 2025

The 33rd Annual Connecticut Critics Circle (CCC) Awards Ceremony will take place on Monday, June 23, 2025 at the Event Center at Housatonic Community College (HCC).  The Awards period covers shows that opened between June 1, 2024 – May 20, 2025. Due to budgetary constraints, we will not be holding a reception this year.

 

The annual awards show is the only event in the state which brings the theater community together.  It is a powerfully moving evening with artists —many who have devoted their careers to regional theater — receiving an all-too-rare tribute. It’s also an opportunity to promote the vast talent and productions our famously theatrical state has produced, from its Tony Award-winning regional theaters to well-established venues to emerging professional groups making new names for themselves.

 

Our event is free and open to the public and annually attracts hundreds of theatergoers from all corners of the state. The ceremony and awards recipients receive press attention in media outlets in Connecticut and beyond.  Click here to reserve tickets.

 

Additionally, the Awards Ceremony will be live streamed for individuals that cannot attend the event.  More information will be posted on the CT Critics Circle website later this month.

 

There is free parking on the floors in the enclosed HCC parking garage, 870 Lafayette Blvd., which is next to Beacon Hall where the Event Center is located.  Parking on the right side will bring you closest to the elevator.

 

We hope you will join us in helping the CCC, a not-for-profit organization, celebrate theater in Connecticut.