Signature Theatre: Ragtime

I hardly know where to begin.  I thought I'd seen this show before a few years ago at Ford's Theater in DC.  Apparently, what I had seen was just Ford's Theater's attempt at producing this show, because what I saw today was on such a level beyond my memory of that other Ragtime, that it was as if I was watching it for the very first time.  And when you are fighting the urge to stand when applauding the opening number, well, it's just not something that happens.  Before going I read over the email--before you go what you should know--and realizing that was 3 hours long, felt a little pit in my tummy.   Then, three hours, schmee hours!--he time just flew by.  The most annoying part was the intermission, though you could hardly fault the actors for needing a pee break.

The other particular about this production were a couple of substitutions.  The actor who was cast as the Latvian immigrant, Tateh, Bobby Smith was being replaced in this performance by his understudy, Edward L. Simon.  Simon was cast in the role of Harry Houdini, so his understudy, Jordan Clark Halsey, would be preforming his regular role.  I normally, don't appreciate understudies.  I know Bobby Smith very well.  He is synonymous with Signature Theatre.  A very talented character actor who can swing with the best of them in the right lead.  I was enthralled by his performance of Albin/Zsa Zsa in 'La Cage Au Faux."--and he won best actor in a musical for it that year.  As the school master in "Spring Awakenings"--superb.  As Charles Guiteau in "Assassins"--outstanding.  As Tateh...maybe a little old for the role?  Tateh is supposed to be late 20's...kindly, I would guess, Bobby is late...40's..early 50"s.  So Edward L. Simon get's his shot at an up-graded role.

If you are familiar with either E. L. Doctorow's expansive novel or the musical, but know that it's a full house of fictional and historic characters woven into a sparkler of turn of the 20th century optimism and despotism.  Peppered in are a handful of the most interesting historical characters of the time.  The program came with a full-size, four page, "news" paper with period photos and advertisements and stories about all of the actual people written into the tale: Henry Ford, Emma Goldman, J. P. Morgan, Booker T. Washington, Harry Houdini, Matthew Perry, and Evelyn Nesbit.  A lovely extra.


The cast was off the charts strong.  Every lead in a cast of supporting actors, really, had the chops.  Some stand-outs:  Edward L. Simon as Tateh--honestly, he was magnificent and so passionate in role that I found myself on the verge of tears in the tender moments with his young daughter.  I'm not sure I could have gone there with Bobby.  Nkrumah Gatling as Coalhouse Walker Jr.--his voice was so expressive and polished.  When he broke down over the casket holding Sarah's body at the end of the first act, I was breathless in solidarity with his grief.  Jake Loewenthal as Mother's Little Brother. Every time I see Jake preform, I am moved even more by his talent.  I hope he gets a best supporting actor nomination this season for this one.  He finds a hook that distinguishes that character, and rather than over play it, he grounds everything else the character does or is around it.  It's brilliant.  Matthew Lamb as the Little Boy.  The kid stole every scene he was given half a chance to without ever coming off as obnoxious.  Awa Sal Seka has long been known to me as an exceptional singer, with this performance I saw the power of her acting peak through, too.  I look forward to seeing more of her work in a way that I hadn't before.  Finally, 'cause you just gotta stop at some point, Teal Wicks as Mother.  She was Mother without a second thought.  Every word, every gesture, every step meaningful and in perfect harmony with the character.  Of course, 8 months as Elphaba in "Wicked" on Broadway, and another 9 months as Cher in "The Cher Show" also on Broadway would suggest a talented actor.  It might also portend a diva, but no sign of that in this ultimate ensemble production.  

The set was amazing, with the 16 member pit orchestra housed in the upper level promenade.  The costumes beautiful, that props perfect including the required Model-A sedan.  If I were to complain about one thing, it would be the sound.  The one soft spot in all Signature productions: finding the balance between the orchestra and the singers.  In this show, it was only noticeable at times and do so off that I couldn't compensate with a little effort on my end.  In that past, it's been more pronounced, like their production of "Titanic".  

In the end, I was on my feet before the lights came up for bows.  I loved the show and it's there through January 7th, though this performance was sold out.

Full Cast Opening Number

Teal Wicks as "The Mother," with Lawrence Redmond as "The Grandfather" in the background

Douglas Ullman Jr. as Henry Ford looking down on Nkrumah Gatling and Coalhouse Walker Jr.

Coalhouse with Sarah (Awa Sel Seka) and their son.

The Great baseball game scene.  Matthew Lamb as "The Little Boy" catching the ball while Bill English as "The Father" steadies him.  The ensemble clockwise from the man in the back directly above English: Theodore Sapp, Nurney, Lawrence Redmond, Edward L. Simon, Douglas Ullman Jr., Gregory Twomey, Todd Scofield, and Keenan McCarter

Second act ensemble number on the beach at Atlantic City

Maria Rizzo as Evelyn Nesbit