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.