BWW Reviews: OC's 3-D Theatricals Presents Epic Production of RAGTIME

First, a bit of disclosure.

RAGTIME, that monumental, Tony-winning musical masterpiece featuring a book by celebrated playwright Terrence McNally and glorious music from composers Lynn Ahrens and Stephen Flaherty, is by far my favorite stage musical of all time.

Because of its expansive roster of diverse characters, combined with its gorgeously sweeping orchestral score, its piercingly poignant lyrics, and its all-encompassing themes of social justice and aspirational fulfillment, the show has moved me like no other musical I have ever seen before or since.

With that said, my bias probably pre-supposes that any production of RAGTIME already gains my favor automatically before the curtain even rises. On the contrary, it is precisely because I am so emotionally invested and thoroughly enamored by the show (even though, yes, I still feel much of it is waaay too long, some parts still need reworking, and some songs could be cut or shortened), that I'm all the more likely to nitpick like crazy on whether the production I'm seeing at the moment either rekindles or tarnishes my love of it.

Of course, from its early pre-Broadway run in Los Angeles back in 1997 which a year later gave rise to its original Broadway production (which earned 13 Tony nominations), to its recent and (sadly) short-lived 2009 Broadway revival, and not to mention many notable concert re-stagings and regional revivals, any possibility of seeing a fully-staged production of RAGTIME is indeed cause for celebration, particularly because it's one of those shows that is very rarely produced, especially in the scale it demands.

So, if you have never seen a full production of RAGTIME, there's probably a good reason why: the show, without exaggeration, is a huge undertaking at any budgetary or spatial level. The musical itself is a rather faithful stage adaptation of E.L. Doctorow's equally massive 1975 historically-tinged novel of the same name, which crams together interweaving stories of three different sets of ethnic groups representative of early 20th Century life in America. This is an America on the brink of change, from its industrial advances to its diversified citizenry.

Thus, the musical is so large and epic in scope that any truly successful production of the show must rely heavily in its ability to present all of its layered, varied elements in an honorable, laudable way... from its large, period-appropriate sets and ornate costumes, to its big-sounding, orchestral arrangements, seamless staging, and, most of all, its casting of the principal leads.

Luckily for Southern California audiences, there's 3D Theatricals---Orange County's own Broadway-caliber regional theater company which, in its very short history, has managed to mount some of the area's most impressive, jaw-dropping musical epics. So when it was announced last year that RAGTIME will be the theater company's closing show for its 2013-2014 season, my heart, understandably, went a-flutter. If any SoCal theater troupe can do this show justice, it would certainly be these folks (the same ones that presented superb local revivals of FUNNY GIRL, INTO THE WOODS, and, its best-to-date show PARADE).

Well, I am happy to report that the wait was definitely worth it, and that 3DT more than delivers with its stunning new show.

Admirably directed by 3DT co-founder and resident artistic director TJ Dawson, this ambitiously impressive regional revival of RAGTIME continues through October 26 at its home-base at the Plummer Auditorium in Fullerton before moving north for its set of performances at the Redondo Beach Performing Arts Center, November 1-9.

Right from the get-go---during the show's dazzling, nearly 10-minute make-it-or-break-it opening prologue that introduces many of the significant players in this multi-ethnic, multi-generational sprawling saga---this production of RAGTIME effectively encapsulates the period essence and spirit of the musical as it was originally intended, despite its fresh theatrical coat of paint.

Like an intricate jigsaw puzzle inside a mapped-out maze, the massive cast of 45+ actors (!) weave in-and-out of the opening number (and, really, every subsequent production number thereafter) with great masterful navigation and a purposeful drive. Credit goes to Dawson's directional reigns (and, to a certain extent, the dynamic choreography of Dana Solimando) for creatively configuring the blueprints that determine every movement and placement of each actor and every moving set and prop piece---all without a single noticeable hiccup.

Visually, the show feels more economically-minded than previous productions I have seen (the multi-tiered stationary platforms that surround the stage are reminiscent of the 2009 Broadway revival set), but in no way does it lose any of its grandeur or effectiveness to propel the story. In fact, I am quite pleased that the production provides the appropriate amount of emotional heft and visual grandeur that such a show requires.

It's hard to believe much of this narrative happened in the America that existed just a little more than a century ago---revealing how far (and, yes, even how little) we've progressed.

We are first introduced to the "very well-off," finely-dressed Caucasian residents of New Rochelle, New York which mainly focuses on a family headed by "Father" (Craig McEldowney), a social traditionalist and wannabe adventurer whose fortune is derived from the sale and manufacturing of patriotic accouterments. Living in his estate with him are his wife, the more open-minded "Mother" (Christanna Rowader); Mother's politically-charged "Younger Brother" (Tyler Miclean); an aging, now-retired cantankerous "Grandfather" (Doug Carfrae); and Mother and Father's young son Edgar (Donovan McFann) who seems to have a knack for spilling the beans and for predicting the future in very vague terms.

Life in 1906 for the people of New Rochelle is, as expected, pleasant, predictable, and generally happy---particularly because their little bubble of existence requires little to no interactions with either blacks or immigrants. But just like the "new music" that is quickly stirring everyone (regardless of race, gender, or age) into a tizzy, the world is definitely changing and the intermixing of their lives are soon proving inevitable.

On the other side of the New Rochelle divide, we later focus on the denizens of Harlem, particularly the debonair club musician Colehouse Walker Jr. (Rufus Bonds Jr) and his lady-love Sarah (the extraordinary Daebreon Poiema), whose tumultuous romance causes her to run away to New Rochelle with a very alarming secret. And on top of their rocky courtship, they also must deal with the everyday ugliness (and dangers) of racism.

Meanwhile America at the turn of the century also saw an even more massive influx of immigrants, mostly from various Eastern European nations, all hoping for better lives and a shot at the so-called American Dream. Among them is Tateh (Gary Patent), a Latvian Jew who has arrived Stateside with his very young daughter (Brooke Besikof), armed with big dreams and a (seemingly useless) talent for cutting up artistic silhouettes. Their journey, as is the norm for new arrivals, is often marred by poverty, hopelessness, and despair.

In between their stories of heartache, triumph, hardship and perseverance, many real-life historical figures often cross paths with these fictional characters, including celebrated vaudeville performer---and former headline-grabbing scandalous personality---Evelyn Nesbit (Jeanette Dawson); master escape artist and immigrant success story Harry Houdini (Gary Brintz); outspoken anarchist Emma Goldman (Jean Kauffman); peaceful civil rights advocate Booker T. Washington (Jimmer Bolden); and even automobile mogul/assembly-line purveyor Henry Ford (Robert Yacko), whose wealth and infamy were borne from the sweat of factory workers and the affordability of his Model T motor cars for the growing middle class. Though these more famous personalities exist in the show only in the periphery, they do all ultimately have significant influences over the lives of the fictional characters that are the focus of RAGTIME.

Naturally, what tethers all these divergent groups together is the emergence of a "new music" genre---ragtime---noted for its syncopated rhythms and its uplifting, sometimes jaunty sound that is all at once joyful and melancholy, reiterating the very mood of the nation. It also seems to transcend tastes regardless of gender, age, or ethnicity. How remarkable, the power of this music!

And much like the power that these lush musical themes have over its characters, it also overpowers the entire musical itself, providing its rapt audience with hummable, memorable musical motifs and exquisite anthems that spill over from one song to another as if the entire thing is one continuous, lavish suite. Suffice it to say, this is the genius of what Ahrens and Flaherty have crafted for this musical---one sublime composition after another. While, granted, some of the show's songs feel like after-thought insertions ("What A Game" is a hoot as a stand-alone number, but completely interrupts the narrative flow; "Buffalo Nickel Photoplay, Inc." is unnecessary, silly padding), the majority of the musical's songs have become modern-day showtune classics.

Among the show's many highlights, particularly in 3DT's production, are the excellent musical performances rendered by its staggeringly talented cast. The amazing Poeima, who plays the ultimately doomed character of Sarah, gives wonderful, exquisite vocal work in the heartbreaking "Your Daddy's Son" (which, surprise!, made me cry like a baby) and in the duets "Wheels of A Dream" and "Sarah Brown Eyes" with his on-stage paramour played by Bonds Jr. For his part, Bonds Jr. gives wonderful nuance to his volatile Coalhouse, a role more typically executed by a deeper Baritone voice. But the accomplished actor makes the role his own, sparking new life into "Make Them Hear You," his character's final battle cry.

Patent, as Tateh, is both heartbreaking and hopeful-sounding in the lovely "Gliding," while Rowader (despite having the evening's most inconsistently working microphone) rightfully brings down the house with her 11 o'clock number "Back To Before"---which gave me goosebumps. Patent and Rowader also sound quite beautiful in their duets "Nothing Like The City" and, later, in the endearing "Our Children."

Also worth mentioning: Amber J. Snead (who plays Sarah's friend) giving a tearfully-felt solo in "Til We Reach That Day," Dawson's vivacious teasing in "Crime of the Century," Miclean and Kauffman's powerful duet in "He Wanted To Say," and McEldowney's understated vocals that lead the marvelous "New Music" that swells into glorious conclusion with the full cast joining in at the end.

So, ultimately, the show is really at its best when the full ensemble is singing full-tilt accompanied by the live orchestra under the baton of conductor Julie Lamoureux. Though there were a few times during the Opening Night performance when the stage actors became noticeably out of sync with the musicians in the pit, when they do all come together as one in spectacular harmony, the show itself ascends to a heavenly place. Besides the aforementioned opening prologue, this is certainly achieved in the production's dazzling cacophony of sounds in "Henry Ford," the big open-air fun of "Atlantic City," and, most notably, in the gut-wrenching "Til We Reach That Day." Every single one proves to be a showstopper.

Of course, as in life, nothing is truly perfect. The only aspects of the production that bothered me a bit were the consistently jarring audio problems---which, I must say, seem to be recurring ghosts that haunt the theater's sound system on most Opening Night performances. These gaffes include microphones going in and out at the most inopportune times, rendering many significant story points and important dialogue utterly indecipherable. Luckily, as an avid fan of the musical, I had with me a prior familiarity with the lyrics and dialogue that helped me over the humps. But for RAGTIME newbies, the absence of crucial whole verses and sentences may have impacted their full enjoyment. As always, I'm hopeful that subsequent performances during the show's run don't have such hurdles to overcome.

While watching RAGTIME---whether it's your first time or your umpteenth time---the one motif you'll probably notice quite easily is the repeated use of silhouettes, not only as an arresting visual image that evokes the early 20th Century art form (that Tateh himself practices) but also as a fitting metaphor for the ultimate dream many of the musical's characters hope to achieve. As silhouettes, every person is instantly only defined by the outline of their figure---not the color of their skin, not whether they are good or evil, and not whether they subscribe to any specific religion, ideology or bias. Every person appears as one shade, indistinguishable yet harmonious. It's a great take-away from such an amazing piece of musical theater.

Seeing a full-scale production of RAGTIME, like 3DT's, never fails to remind me why I still, decades later, regard it as my all-time favorite musical. If you have yet to see it, or need to see it again, don't miss out on experiencing this impressive local production. It is so rare that RAGTIME is ever produced at all, let alone as an exemplary one... so this, dear reader, is definitely a must-see.

Follow this reviewer on Twitter: @cre8iveMLQ

Photos of 3-D Theatricals' presentation of RAGTIME: THE MUSICAL by Isaac James Creative.

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Performances of 3-D Theatricals' RAGTIME: THE MUSICAL continue at the Plummer Auditorium in Fullerton through October 26, 2014, then moves to the Redondo Beach Performing Arts Center from November 1 - 9, 2014. Shows are scheduled Thursdays - Saturdays at 8 pm, Saturday and Sunday matinees at 2 pm.

For tickets or more information, call 714-589-2770 or visit www.3DTshows.com.

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