Interview: Jason Danieley Stages RAGTIME: THE SYMPHONIC CONCERT For Boston Pops

Jason Danieley has performed with the Boston Pops many times over the last 25 years. When he returns for three shows at Boston's Symphony Hall May 12-13, and one at Tanglewood in Lenox, Massachusetts, on July 8, with conductor Keith Lockhart and the orchestra, however, the actor, singer, and director won't be appearing on stage.

The Broadway veteran will instead be behind the scenes providing stage direction when the Boston Pops opens its 2023 season with "Ragtime: The Symphonic Concert," a new adaptation of the 1997 Tony Award-winning musical "Ragtime" prepared for the Pops by its original creators, Lynn Ahrens, Stephen Flaherty, and the late Terrence McNally.

Based on the 1975 novel by E.L. Doctorow, "Ragtime" - with an Ahrens and Flaherty score that includes "Wheels of a Dream," "Sarah Brown Eyes," and "Make Them Hear You" - blends together the stories of three interwoven groups in the U.S. in the early 20th century: Eastern European immigrants, the African American community of Harlem, and an upper-class white family.

Heading the cast for this concert version are Broadway performers including Alton Fitzgerald White ("The Lion King"), Elizabeth Stanley ("Jagged Little Pill"), Nikki Renée Daniels ("The Book of Mormon"), David Harris ("Moulin Rouge! The Musical"), and A.J. Shively ("Paradise Square").

Danieley, who has originated roles in Broadway musicals including "Pretty Woman," "The Visit," "Curtains," and "The Full Monty," has also previously staged concerts, including "Remembering Sondheim" with the Boston Pops at Tanglewood in 2022.

Last spring, Danieley was seen as author James Agee in the world premiere of "Knoxville," a new Ahrens and Flaherty musical with book by Frank Galati based on the novel "A Death in the Family" by Agee, and in part on the play "All the Way Home" by Tad Mosel, presented at Asolo Repertory Theatre in Sarasota, Florida. The world premiere recording of "Knoxville" was released in November of last year.

By telephone from his New York home recently, Danieley talked about "Ragtime," Ahrens, Flaherty, McNally, his late wife Marin Mazzie, and more.

Tell me about your history with "Ragtime"?

I have a long history with this piece because of Marin. We met in 1996 and were dating when she originated the role of Mother in the world-premiere Toronto production. I was in "Candide" on Broadway at the time, but after that show ended I moved up to Toronto to be with her. I got to know Lynn, Stephen, and Terrence in this period. After almost a year there, "Ragtime" moved to Broadway in 1997 and Marin stayed with the show for another year. It was wonderful to be able to watch her and also Mark Jacoby, Brian Stokes Mitchell, Audra McDonald, and everyone in that production. They were all at the top of their game.

More than 25 years after that first production, does the message of "Ragtime" still have meaning today?

Yes, it is still very timely. Racism and xenophobia are still present in our society. It is very sad, of course, but the recent killings of innocent individuals like Breonna Taylor and George Floyd by law enforcement officers resonate with what happened, over 100 years ago, to Sarah, Coalhouse Walker, Jr., and Tateh in the show.

Marin received a 1998 Tony nomination for Best Performance by a Leading Actress in a Musical for "Ragtime." Did she do any music from the show as part of her concert repertoire?

Marin would often sing "Back to Before," her act II song. It's achingly beautiful, with a universality that goes beyond "Ragtime."

Marin lost her long battle with ovarian cancer on September 13, 2018. What is it like being involved in "Ragtime" now?

My journey leading up to this has been a relatively long one. Before Marin passed away, I would sometimes be approached to appear in "Ragtime" productions, but I always turned those offers down. I just couldn't imagine doing the show when I had such vivid memories of the original cast. Then, the challenging part of grieving is that you don't know when or how it's going to hit you. Three years after Marin's passing, I got back into dating, and I've met someone who understands that Marin will always be a part of my journey.

In March, a one-time-only "Ragtime" reunion concert, dedicated to Marin, raised over $1 million for the Entertainment Community Fund. Most of the original Broadway company reunited at New York's Minskoff Theatre that night, with Kelli O'Hara stepping into Marin's role. What was that experience like for you?

It was very emotional, of course, but I knew all the folks on stage and it was clear that they were embracing Marin and her memory in every way. I've worked with Kelli. We've done concerts together, including in 2011 with the Boston Pops, and so I was pleased when I learned she would be standing in for Marin. When Kelli sang "Our Children," alongside Peter Friedman as Tateh, it was so beautiful and also painful.

How did you get involved in the symphonic version of the show?

Lynn, Stephen, and Terrence were in the early development stages of this project when Terrence passed away from complications of Covid-19 in March 2020, and then, of course, everything shut down. I was appearing in "A Little Night Music" at Barrington Stage last summer and simultaneously staging the "Remembering Sondheim" concerts for the Boston Pops at Tanglewood when I was first approached about staging the symphonic "Ragtime." I immediately thought, "Oh God, no. This is too big of a show for me."

What changed your mind?

Terrence crafted the story beautifully and the score by Lynn and Stephen is magnificent, so I feel very fortunate to be a part of this show. We all miss Terrence very much, but to have the original composing team involved is great. They've made all the right decisions. On top of that, we have a wonderful company of performers and the amazing Boston Pops.

What should people who know the show know about this symphonic concert version?

The focus is slightly shifted to make this a more intimate experience. But there will be a 24-member chorus offering audiences a full-immersion choral experience. I wasn't involved with it but a production was done in Calgary last June with the show's original assistant conductor, James Moore, conducting. He said of this version, "It moves very swiftly, but has the same emotional impact." I think he's absolutely right.

I understand you may be not only behind the scenes but also on stage in Boston. Is that true?

I'm understudying the roles of Father, Younger Brother, and Henry Ford, so yes, I may have to go on. I really hope that doesn't happen, though, because I'd much rather not have to worry about remembering lines. I know this show very well. It's in my head and will be there forever, because I learned it while I was falling in love with Marin.

Photo Credit: Justin Patterson

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