Anyone going to the first RAGTIME preview tonight (10/23)? — Page 2

I was dead center, row J.

It was mainly a lack of presence. During the prologue it almost sounded canned at times. There were also occasional issues of a similar nature with the vocalists. Those are all things I anticipate being fixed before open. And since the composers of the piece were sitting directly in front of me, I am sure they noticed and took note.

Another tiny thing that bothered me. They are using keyboards in the pit (understandable) but it was very disconcerting to see Coalhouse sitting at a (suggested) acoustic upright but hearing a very obvious electronic keyboard coming from the pit. Again, that was mostly noticeable during the Prologue.

I think I am going to need some time to reflect before I really chime in, but overall the production is gorgeous. I am struggling to even locate a weak link in the cast. Every person and every interpretation absolutely worked for me. In fact, this is the first time I actually felt any connection/empathy/emotion at all towards Younger Brother.

Funny moment at curtain call tonight: After the cast took their bows they turned and walked upstage before the curtain fell. Nobody thought to grab the poor little boy playing Coalhouse III and he was standing there totally oblivious that everyone behind him had moved. Robert Petkoff (Tateh) ran back downstage and scooped the little darling up, but everyone got a good chuckle out of it. He was just so damned adorable.

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How did the set play in the Neil Simon? My understanding is that because of the smaller footprint, the set was trimmed to fit and moved forward from how it played in DC? Also, how were Petkoff, Eric Jordan Young, and Bobby Steggert?

I didn't see it in DC, so I can't comment on the set changes. They worked for me and never did the staging feel cramped, so I imagine they adapted well.

Robert Petkoff - Outstanding. I personally find the character of Tateh to be a bit grating at times, but in this production he has become one of my favorite characters. Petkoff found a great balance and effortlessly moved through the characters taxing emotional development. I felt like I never saw him working at making the character happen.

Bobby Steggert - As I stated above, this is the first time I actually liked and understood Younger Brother. His voice isn't as strong or as rich as I would have liked on The Night That Goldman Spoke... but he knocked it out of the park in He Wanted to Say (which incidentally was impeccably staged).

Eric Jordan Young - I never pictured Booker T. Washington quite so... nerdy. It worked, it didn't distract from the role or the show at all, he just wasn't how I would have envisioned that character.

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This was my first exposure to the show and it blew me away! Can't wait to see it again!

Will be nice to see it again. I couldn't stay awake during the original, and I thought it was overproduced. This could be good, as it is such a strong show.

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I don't have too much to say right now and I'll probably write a more detailed review later but this is absolutely the best thing I have seen so far this season. I saw the production down in DC (which was mostly the same cast) and loved it, but it truly has risen to a whole new level.

As for standouts in the cast...Christiane Noll, Bobby Steggert, Stephanie Umoh, and Quentin Earl Darrington are all giving fantastic, lovely, fleshed-out performances. I really enjoyed Robert Petkoff as Tateh too and I think once he really makes his relationship with the Little Girl more solid he'll be fantastic as well...the thing I liked most about Manoel Felciano's performance in DC was the obvious love he had for his daughter and the tenderness with which he dealt with her. The actor who plays the Little Boy, Christopher Cox, was also wonderful...he seemed pretty nervous in the beginning but got stronger as the show went on.

For the most part, they are in really excellent shape for a first preview and will only get better as time goes on. I can't wait to see the show again.

That was one crazy lotto. Wonder if it will always be that busy, or just because it's the first preview.

^ I hate you JP

Agreed that Christiane Noll, Bobby Steggert, Stephanie Umoh, and Quentin Earl Darrington are the 4 fantastic standouts in this very, very talented cast.

HOWEVER, I wished it was Marcia Milgrom Dodge who had been taken out and shot (and yes, there is gunfire). Seriously? That constitutes for "directing" and "choreography" these days?

I know the house was rooting for that company - and damn well they should be. That cast leaves everything they have on that stage...but 90% of the time they are climbing an uphill battle against a very sloppy and not ready for bway director. Did it not bother anyone else that every single song was delivered from the same exact spot on that stage? You have this HUGE VAST STAGE - even in this recession special production, you could still USE THE STAGE! That choreography for the opening and for Henry Ford especially was as bland and glee clubby as it came.

THANK GOD this show directs itself. Simply put the music is worth the price of admission times 5. And to hear a cast this great sing it is an honor. I just really wish somebody would have helped MMD out - especially what that choreo.

Updated On: 10/24/09 at 12:23 AM

re: the sound being quiet/flat

My guess is that it's a combo of still tuning for the Neil Simon and you're used to the over-amplified (my opinion) sound design of most Broadway shows these days.

Most broadway houses were designed with negligible acoustic considerations so it really does take a lot of tuning in the space. Dead spots. Reverb. Those guys totally earn their paycheck.

I know that they want to keep amplification down so that you can enjoy hearing such a full cast onstage. And sadly, it seems whenever a sound designer goes for a more natural/less amplified sound, it's common for a lot of people seem to feel it lacking because they're used to hearing the sound system on most shows go to 11.

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"Recession special production," really? Do you have any idea what it costs to produce a show with that large a cast and a full orchestra? It's not the OBC production, but it's not exactly done on the cheap, either.

I remember thinking that they utilized the stage space very well in DC. The only thing I can think is that they had to rethink some parts due to the different stage dimensions? I'm sorry that you didn't enjoy that aspect of it, though.

Updated On: 10/24/09 at 12:39 AM

I actually liked the staging of the Henry Ford number. It is a kind of kitschy, americana song and I felt like that "glee club" staging fits the character of that particular selection.

I do agree with La Cage about some of the choreography in the Prologue, however. The staging on the scaffolding worked well, but when the cast reached ground level the only "choreography" elements that I found visually interesting were the ones that appeared to be "borrowed" from the original production.

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Ragtime has kind of a special place in my theatrical heart. It was the first show that I ever saw more than once on Broadway, and now it's the first show I'll have seen the original production and the revival of (because I don't count that recent return of Les Miz as a "revival"). I've always had a fondness for the book and score, and the original production, which still ranks as one of my favorite theatrical experiences. When it was announced this production was moving to NY, I was both thrilled and nervous. I'm happy to report that any qualms I had about the minimalist nature of the production were wiped away this evening.

Marcia Milgrom Dodge has created a fantastic new production, completely re-imagined, but ultimately, still the same gorgeous tapestry of dreams. Her vision is more esoteric and abstract but that allows you to focus on the characters more. For a Broadway directorial debut, she comes across as an old pro, and she'll certainly be in high demand after this show. She creates a series of new, beautiful stage pictures and images that are still with me. As the curtain rises, the cast is now gathered around Coalhouse, sitting at the piano, as he plays the opening chords of the show. Later, during the finale, the cast gathers around a now empty piano, and in the final moments of the show, Little Coalhouse takes his father's place at the piano. That's a gorgeous piece of staging. It's little touches like that that distinguish this production. Despite the minimalist nature of it all, you never feel cheated. Her fluid approach to the material and staging works so well.

Beyond the staging, the show delivers because it's been impeccably well cast, from top to bottom. Not a weak link in the bunch. However, the standout has to be the fantastic Christianne Noll, who turns in an absolutely astonishing performance. This was the first production of this show I've seen where it has felt like Mother's story. Noll anchors the production, and takes us all on the beautiful journey that Mother undergoes, as the character transforms from diligent wife to independent woman. Noll's acting is outstanding- she never overdoes it, and brings a unique bit of subtly to the role. And then there's her voice. Her vocals are rapturous, and Back to Before emerges as the evening's highlight.

Quentin Earl Darrington has improved greatly as Coalhouse since I saw him play the role in another production. He's always sang very well, but his acting improved greatly. I thought he was fantastic.

Robert Petkoff's Tateh is younger, more impressionable, and more fatherly than I've seen the role played before. He and his daughter had excellent chemistry, and I liked that he used her as more than a prop. Unfortunately, I've never liked either of his songs, but he sells Buffalo Nickel better than I've seen it done before.

Ron Bohmer and Bobby Steggert are both excellent, though I wasn't really sold on Steggert until act 2. He's brilliant in the second act, and sort of out there in the first. The scene the two of them share at the table in act 2 was fantastic. Stephanie Umoh makes a strong debut as Sarah, and sings beautifully. For whatever reason, however, the role feels much smaller to me now. Even young Christopher Cox gives a great performance as Edgar.

If there's one moment I have to identify as needing work right now, it would be Crime of the Century. They've cut an entire verse from the song, and what's left just doesn't really go anywhere.

For a first preview, this is in incredibly solid shape. Hearing that score sung by a cast like this is sheer bliss. Go, go, go!

Updated On: 10/24/09 at 01:01 AM

Really? Which verse did they cut?

The verse where the judge reads the verdict. Also, a verse has been cut from Henry Ford, The Night That Goldman Spoke..., Atlantic City, and He Wanted To Say.