Review Roundup: RAGTIME at New York City Center

Ragtime is back onstage in NYC! The musical opened last night as the 2024 gala presentation at New York City Center.

Winner of four Tony Awards in 1998, Ragtime follows three fictional families in pursuit of the American Dream at the turn of the 20th century: Black pianist Coalhouse Walker Jr. (Joshua Henry) and his sweetheart Sarah (Nichelle Lewis); a wealthy white family led by Mother (Caissie Levy); and Latvian Jewish immigrant Tateh (Brandon Uranowitz) along with his Little Girl (Tabitha Lawing).

This sweeping, powerful musical adaptation of E.L. Doctorow’s novel of the same name features music by Stephen Flaherty, lyrics by Lynn Ahrens, and a book by Terrence McNally. Directed by Tony-nominated Encores! Artistic Director Lear deBessonet, Ragtime features music direction by James Moore and choreography by Ellenore Scott. The production features scenic design by David Rockwell, costume design by Linda Cho, lighting design by Adam Honoré, and sound design by Kai Harada. See what the critics are saying...

Jesse Green, New York Times: But there can hardly be another standout in a production that features Henry’s endless supply of vocal drama. Perhaps this “Ragtime” is so moving precisely because its most tragic character can still convince you, at least in music, that there is hope for America, even now.

Jackson McHenry, Vulture: But what do you get when you stand back and let the piece’s contradictions speak? A Rorschach Ragtime that means many things at once, just take your pick. The agnosticism, I’m guessing, is due in no small part to the performance schedule. Everyone in the audience knows there’s an election on Tuesday, after which this production will, by force of context, simply have to become either tragic or triumphant for the final week of its run. Just as in American Idol, the public decides! Soon, we’ll all learn whether this country was a good or bad idea. That hangs a lot of weight on electoral politics, and as with that teenybopper Romeo & Juliet and the star-packed Our Town, puts this Ragtime in the frustrating position of deriving gravitas from this upcoming moment in American history while, in fact, saying very little about it. If I had to name what I imagine to be the one underlying theme in Ragtime, it’s that there’s always, in America, new music playing, and a rush to forget the past and sing along. The future is one intoxicating melody. But if it’s all you pay attention to, you miss the sound of what’s already playing now.

Melissa Rose Bernardo, New York Stage Review: It’s hard not to be instantly drawn to Tateh’s story: an immigrant who arrives on our shores dreaming of a better life and starts his own business making silhouettes, only to be crushed by tenement life; he ultimately resorts to working in a textile mill—64 hours a week for 6 dollars. You’ll want to join Younger Brother at Emma Goldman’s rally for the workers. Taub, on leave from Suffs where she plays another fiery activist, women’s suffrage leader Alice Paul, and Ross (star of Jason Robert Brown’s musical The Connector) are that persuasive. And Tony winner Uranowitz (Leopoldstadt), recently seen as the uppity ship owner in Titanic at Encores!, is shattering as Tateh, who later reinvents himself brilliantly as the filmmaker Baron Ashkenazy.

David Finkle, New York Stage Review: About this extraordinary Ragtime revival, there’s a larger observation to be made. It impresses as having been reinvigorated for this election week. Doubtless, it was intended as such. Unfortunately, Doctorow’s novel deals with American problems yet to be resolved—racism, division, disdain for immigrants(!), too many et ceteras. The reasons to see Ragtime right now couldn’t be more pressing.

Average Rating: 92.5%