BWW Reviews: The Playhouse Presents a Beautiful, Effective, Understated RAGTIME

Everyone loves a good "The Show Must Go On" story, and they don't get much better than the story of The Playhouse's current production of Ragtime which plays The Charline McCombs Empire Theatre now through August 18th. Though originally planned for The Playhouse's Russell Hill Rogers Theatre, plans changed after the recent San Antonio flood damaged the historic structure, causing the need for major repairs. While a late change in venue is a major curve ball for any production, any problems that it may have caused are nowhere to be seen. While stripped of the grandiose design which usually accompanies the epic American musical, The Playhouse's version is still quite alluring and emotionally stirring.

Considered by many to be among the greatest musicals of the past 20 years, Ragtime tells the story of a changing America at the dawn of the 20th century as seen through the eyes of a white upper-class family, an immigrant family, and an African American family. Though the piece easily lends itself to large, epic, and lavish design work, the material is so strong that it can survive without the opulence, as The Playhouse's production shows. Director Molly Cox strips the show down to its core themes about the American dream, bigotry, and family. The focus is decidedly on telling a story and breathing life into the characters, and though Cox is occasionally limited by the space, she often takes advantage of every inch of the opulent, historic Empire Theatre.

While Cox's minimalistic approach to the material may be a bit unconventional, the cast and crew is more than capable of bringing her vision to live. Virginia Provencher's unit set, comprised of several steel platforms, is quite effective, Pat Smith's lighting design is gorgeous, and Rose Kennedy's period costumes, particularly the dresses worn by Mother and the vaudeville star Evelyn Nesbit, are stunning and wonderfully detailed. Though Ragtime is not a dance heavy show, Lizel Sandoval gives us some large, energetic numbers, particularly with "The Getting Ready Rag" and Evelyn Nesbit's showstopper "The Crime of the Century."

True to form for The Playhouse, the cast of Ragtime consists of some of the best and brightest talent in San Antonio. The ensemble handles Stephen Flaherty's demanding score with ease, and the full cast numbers are incredibly well sung. The supporting and leading roles are all filled by gifted performers as well. As Mother and Father, Sarah L. Hendrick and Lee Cusenbary use every one of their songs and solos to show off their vocal talents. Hendrick's eleven o'clock number "Back to Before" is particularly memorable. Regina Burpo brings a fragility and vulnerability to the role of Sarah, a challenging role that is almost synonymous with Audra McDonald. Her voice is pleasant, sweet, and quite effective on "Your Daddy's Son," though there are times when she's paired with other cast members and gets a bit drowned out. As Tatah, David Nanny-Isban has a fantastically rich voice and is able to portray the ethnicity of his role without turning Tatah into a caricaturized Jewish/Eastern European immigrant. Trevor Chauvin elevates the often forgettable role of Mother's Younger Brother though his incredible acting and splendid voice. Similarly, Rebecca Trinidad and Sara Brookes are more than memorable in their respective cameo roles. Trinidad, who often gets to play more comedic roles, plays against type as anarchist Emma Goldman. Though she is an extraordinary comedienne, it's wonderful to know that Trinidad is just as strong in a serious, dramatic role. And Sarah Brookes may be the best Evelyn Nesbit I've seen in any production of Ragtime. Her voice is magnificent, and she plays Nesbit as a charming but somewhat sarcastic and almost snarky starlet.

But the largest amount of praise must go to Edward Burkley. As Coalhouse Walker, Jr., Burkley is absolutely extraordinary. As a classically trained vocalist, he brings an operatic flair to the role. His rendition of "Make Them Hear You" is particularly memorable, and the operatic sound fits the character perfectly. After all, Coalhouse is a tragic anti-hero, and tragic anti-heroes seem to go hand in hand with opera.

Though The Playhouse's production of Ragtime is unlike any other you've ever seen, that's far from a criticism. While demure, the production is magnificent, and the no-frills approach allows the themes and characters to take center stage.

The show has gone on, and then some.

Running time: Approximately 2 hours and 40 minutes, including one 15 minute intermission.

RAGTIME, produced by The Playhouse - San Antonio, plays The Charline McCombs Empire Theatre at 226 N. Saint Mary's St, San Antonio, 78205 now thru August 18th. Performances are Fridays and Saturdays at 8pm and Sundays at 2:30pm. Tickets are $10-$25. For tickets and information, please visit www.theplayhousesa.org

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