BWW Reviews: Circle Players' RAGTIME THE MUSICAL

Celebrating its 65th season, Nashville's Circle Players is Middle Tennessee's oldest community theater organization and I can think of no better way to celebrate that milestone than with the company's current show, the Tim Larson-directed version of Ragtime, the musical adaptation of the acclaimed E.L. Doctorow novel. Now onstage for the next two weekends at the Tennessee State University Performing Arts Center, Ragtime the Musical (with book by Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens) promises a tune-filled and emotional time at the theater that audiences will be talking about for weeks to come.

Among the theatrical cognoscenti, Ragtime the Musical is as equally acclaimed as its source material, perhaps even more so. Its score is nothing short of glorious, featuring songs that are now a part of the musical theater canon, melodies that enter your mind and fill your heart with a patriotic fervor that comes upon you unawares. With the confident musical direction of William Crimm (his ensemble plays the entire Broadway score, with a minimum - if there are indeed any - cuts in the music), coupled with Larson's stunningly artistic vision for his interpretation of the show, this rendition of Ragtime may well be the best-sung Circle musical I've seen in the past thirty-some years. Meanwhile Tosha Pendergrast's choreography propels the story ahead with a fluidity that is almost cinematic and movement that seems period-perfect.

Using the uniquely American rhythms of ragtime music to help set the story's tone and with a book that relates a wonderfully engaging tale of this country amid the turmoil and volatility of the first part of the 20th century, McNally, Flaherty and Ahrens have crafted a musical that is universal in scope, but which remains intimately all-American. As the new century rolls on - what with its showcase criminal trials, awesome new inventions and the growing American fascination with a celebrity-driven popular culture - Ragtime the Musical delivers a compelling history lesson, one that is leavened with personal stories that are certain to inspire and a view of this country's racial, ethnic and cultural evolution that resonates more eloquently in this troubled era in which we live.

The central story of the musical, concerning Coalhouse Walker and his treatment by the cultural establishment of pre-World War I New York City might well be the stories we follow on television screens and internet feeds today. That Ragtime the Musical leaves us with such hope at its final curtain is testimony to the fact that people will always dream of a better tomorrow, a brighter future that will ensure our children and their children will live a life better than our own.

It's a heady concept, to be sure, and it means that any production of Ragtime is more challenging than, say, the umpteenth production of Annie: Ragtime the Musical simply has a gravitas that many other shows don't even approach. Thus, any production team is saddled with great expectations as they attempt to respect the material while creating a grand theatrical spectacle.

Ragtime the Musical is the perfect celebration, the ideal commemoration of Circle Players' enduring impact on theater in Tennessee and simply is not to be missed. It's not perfect, of course, but then what show ever is? There were nagging sound issues on opening night, a few missed opportunities to capitalize on certain moments to make a bigger impact and the requisite opening night jitters accounted for some miscues. But what does that really matter when at the end of the show the audience leaps to its feet to deliver a resounding and much-deserved ovation?

Larson's overall vision for the staggering and challenging piece is impressively brought to life through the work of his design team: Rachel Gallup's costumes help to capture a palpable feel of the time period, using a color story suggested by the original Broadway production and subsequent tour; Cathy Matthews' lighting perfectly illuminates the onstage action while helping to create a sense of place and purpose while helping the audience to focus where they should; and Caleb Burke's set design (which uses moving scaffolding and stairs to create the Beaux Arts world of the early 1900s) encourages the audience to use its imagination to fill in the empty spaces while providing the actors with a firm foundation upon which to play.

Perhaps the production's most winning aspect, however, is the superb cast assembled by Larson and his team (which includes assistant director Katie Veglio, stage manager Jacob Street and producers LaTonya Turner and L.B. Gaiters). Larson's "cast of thousands" features a deft blending of veterans and newcomers, community theater stalwarts and TSU students, led by David Arnold, Janet Holeman, Joshua Waldrep, Brooke Leigh Davis, Tyler Osborne, Larry Rhodes, Taylor Simon, Leslie Eiler Thompson and Austin Olive-with the beautiful Erica Patterson as a heart-wrenchingly sympathetic Sarah and David Ridley providing the show's own heart as Coalhouse Walker Jr. You will also be introduced to some impressive stars of tomorrow, specifically Connor Richardson as Edgar, The Little Boy, and an unspeaking Rowan McCoy as The Little Girl (but, good lord, can this child act? She is nothing short of mesmerizing.) and just about the cutest kid to ever appear onstage anywhere at anytime: Joesn Fisher as Little Coalhouse.

As always, Arnold cuts a dashing figure as Father, performing with a smart blend of self-assurance and Edwardian era pomposity. Osborne's voice brings Younger Brother to life with a sense of awestruck rapture that underscores his fine acting. And Rhodes may be given his best onstage opportunity to date to create a character who seems genuine without a hint of stagecraftiness.

Simon is convincing as "rabble rouser" Emma Goldman, while Olive approaches his turn as Harry Houdini with sharp focus and Thompson becomes Evelyn Nesbit with a hint of saucy insouciance and early 20th century star power (although during her time onstage, we witness a missed opportunity: I would have loved to see her flying higher on that faux-velvet swing that had no velvet at all so far as I could tell).

Davis, one of Nashville's most impressive singer/actors, at first seems under-utilized in her role as Sarah's friend...until...until she shows us the depth of her emotion - the sweep of her dramatic intent - with her performance of "Till We Reach That Day" at Sarah's funeral. It will leave you feeling as if you've been to church, at the very least, or to have heard the angels sing, at best.

Patterson's performance of Sarah was somehow ethereal and startlingly realistic, her exquisite voice captivating her audience with ease. Her chemistry with Ridley helped to tell the story of Sarah and Coalhouse with such power that it transported audiences from the 21st Century to the story's time and place. Ridley, plagued by microphone issues throughout Act One that were improved by Act Two, gave a compelling reading of his character, culminating with his "Make Them Hear You." The pair's "Wheels of a Dream," one of the most beautiful songs in musical theater, was ideally acted, delivering an emotional wallop that left the audience gasping for breath.

As Tateh, Waldrep is finally given a role worthy of both his beautiful voice and his immense acting arsenal. His songs are artfully, soulfully performed and he delivers a performance as Tateh that is at once heartrending and uplifting. Waldrep's ability to breathe life into his character is miraculous and his interactions with young Miss McCoy as his beloved daughter illicits such warm feelings that they are difficult to describe.

Holeman, as Mother, displays strength beyond belief throughout the show, but it is her performance near the end of Act Two of "Back to Before" that establishes her as the true star of this production. Her performance is beautiful, riveting the audience to its collective seat, as she demonstrates the American woman's transition from silent helpmeet to outspoken advocate. She proves, once and for all, that it does indeed "take a village."

In addition to the leading and supporting players, Larson's cast includes a particularly noteworthy ensemble, including Laura Amond (as Kathleen the maid), Tim Bush (as the bigoted Will Conklin), Eleanor Aiken, Morgan Amond, Brian Best (great as Henry Ford), Amber Boyer, Chuck Brown, Donald Carter III, Finch, Ben Gregory, George Hardimon IV, Santayana Harris, La Darra Jackel, Jennifer Jackson, Raven Jackson, Morgan Lamberth, Stella London, Alexis Marks, Rachel Martz, Rachel Mello, Lakendra Moore, Corey Odems, Tonya Pewitt, Maya Riley, Tyeler Samuel, Howard Snyder, Cameron Keith Walls, Tosha Webb, Lauren Case, DeAngelo Dominic Davidson II, Tamera Young and Phillip Miller.

• Ragtime the Musical. Book by Terrence McNally. Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Directed by Tim Larson. Musical direction by William Crimm. Choreographed by Tosha Pendergrast. Presented at Tennessee State University Performing Arts Center, Nashville. Through January 31. For details, go to www.circleplayers.net. Running time: 2 hours, 40 minutes (including a 15-minute intermission).

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