Anyone going to the first RAGTIME preview tonight (10/23)?- Page 7

[orangeskittles]

Posted: 10/26/09 at 6:19pm

qolbinau, I just meant that the dying lover as a catalyst (as perfectlymarvelous describes) is a very common theme in fiction, so the similarity to Into the Woods is coincidental and the concept is not at all random.

Have you seen Harold+Kumar? It kind of reminds me of when the police officers randomly shouted "HE'S RESISTING" then beat the black guy when he was just standing there. (Analogy: "SHE'S GOT A GUN - beat).

In Harold and Kumar, it was dark comedy, and in Ragtime, it was grave, but both were intended as commentaries on racism. I don't think it's random to have that element present in a show with a racially-charged plot.


TheQuibbler, I think in this production, Mother's Younger Brother's journey is a highlight of Act II.

Updated On: 10/26/09 at 06:19 PM

[Oldschool]

Posted: 10/26/09 at 7:11pm

Hmm. Act II. Coalhouse. Coalhouse doesn't spend all of Act II sulking because he's too busy blowing things up. We're introduced to his demands early in the Act, Younger Brother joins in, Booker T convinces him to choose another path. He changes from pure rage at the beginning of the act to a new and different resolve in "Make Them Hear You."

Tateh changes more subtly, particularly in his confession, juxtaposed against his self aggrandizement in Buffalo Nickel. "Our Children"is a wonderful tying together his and Mother's story.

Mother doesn't realize she's changed until her fight, an it is in its aftermath, like the time after a break up argument, that she realizes herself and where she has come to.

perfectlymarvelous, your explanation is perfectly fine. There is no story unless Sarah dies. All stories have plot devices and MacGuffins to propel them along. Her death is one of them. Particularly given that the US had two assassinations within 20 years -- 1881 and 1901, James Garfield and McKinley respectively -- the idea that they'd be cautious at a rally isn't out of the realm of possibility. Interestingly, it was a speech by Emma Goldman that set his assassin off. She would later compare the assassin to Marcus Brutus, and calling McKinley the ""president of the money kings and trust magnates."

[Schmerg_The_Impaler]

Posted: 10/26/09 at 8:30pm

When I saw the show in DC, the audiences were ALWAYS laughing at totally random lines. It was so uncomfortable. Any serious, dramatic, or racially charged line got LOTS of laughs. I'm glad the laughs aren't continuing in the Broadway production (except at the funny parts, of course).

Is anyone else annoyed by Emma Goldman's speech impediment, though? She does a good job, but her lisp is just distracting and makes it feel almost Community Theatre-ish. I realize this is heresy because she's a very respected and award-honored DC actress, but I couldn't think of anything but her lisp when she performed.

[Oldschool]

Posted: 10/26/09 at 8:41pm

I didn't find her lisp a distraction, and she's one of the few actors in the cast that can hit the back of the house without a mic. I find it interesting that someone would call it "community theatre-ish" given that no one has ever accused William Hurt of being community theatre-ish in his own vocal affecations, or for example Kenneth Brannagh, who has his own affectation of going into an almost falsetto for affect....

[perfectlymarvelous]

Posted: 10/26/09 at 9:06pm

Schmerg, I totally agree about the DC audience laughing at odd things...my parents and I felt it was a really strange audience when we saw it, glad to know it wasn't just our particular day.

[DottieD'Luscia]

Posted: 10/26/09 at 9:09pm

The DC audiences might have laughed in peculiar places, but they were some of the most enthusiastic audiences I have experienced in the nine years of attending theater in DC.

[binau]

Posted: 10/27/09 at 4:22am

"qolbinau, I just meant that the dying lover as a catalyst (as perfectlymarvelous describes) is a very common theme in fiction, so the similarity to Into the Woods is coincidental and the concept is not at all random.
"

When I meant it was similar to the ITW death, I mean the response I had towards [spoiler]Sarah's death[/spoiler] was similar to that of the Baker's Wife. Which I think is inappropriate, as I doubt Sarah's death is meant to be ridiculous/random(by random I mean, 'out of no where').

But as I've said I acknowledge this might just be the effect of reading a very brief synopsis+cast recording rather than seeing the show.

[jamiekennywicked]

Posted: 10/27/09 at 12:10pm

sorry if it was already asked but what was the curtain like before the show

[Fosse76]

Posted: 10/27/09 at 12:18pm

They use the velvet house curtain.

I think I'm the only one who thinks this production is extremely overrated. I had issues with some of the acting (particularly Younger Brother) and some of the direction. While I enjoyed it, it still doesn't seem Broadway caliber.

[Dagobert]

Posted: 10/27/09 at 1:18pm

Fosse76- I don't think you are the only one...definitely in the minority though...I do think you are the only one who has had anything bad to say about Steggert. I thought along with many others his was an amazingly intense performance.
You can't please everyone, but I do think this is an outstanding presentation of this show that many will enjoy.

[Fosse76]

Posted: 10/27/09 at 1:25pm

"Fosse76- I don't think you are the only one...definitely in the minority though...I do think you are the only one who has had anything bad to say about Steggert. I thought along with many others his was an amazingly intense performance."

I personally didn't find anything remotely intense about his performance. He spoke his lines as if he had been reading them for the first time from the script, carefully pronouncing each word with little emotion. The result was inhibited, unnatural speech. His blow-up at Father was loud, to be sure, but just as unnatural and also rather emotionless.

And don't get me started on the car!

[Roscoe]

Posted: 10/27/09 at 2:00pm

Go ahead. Tell us about the car.

[Dagobert]

Posted: 10/27/09 at 2:28pm

Well- we agree to disagree about Steggert, but we do agree about the car. I get the point they are going for about the car...that Ragtime is about the American Dream but when it was really an outline rather than a full fledged, fully dressed reality...that a Coalhouse could have what he thought was a nice car as a symbol of equality etc, but it really was just a sketch of freedom and equality, even self-propelled rather than going on its own,etc....but still the car does not work for me...but that did not take away from what I otherwise found an engaging, emotionally satisfying night at the theatre.

[Roscoe]

Posted: 10/27/09 at 2:33pm

Is that the point about the car? I thought it just looked cheap and silly. Something a little more substantial was definitely in order.

[Dagobert]

Posted: 10/27/09 at 2:45pm

I wonder if the color of the car is part of the problem. Maybe a coat of black paint would make it more palatable. I don't think a full scale Model T would look right or fit with the thematic take of this production.

[Roscoe]

Posted: 10/27/09 at 3:00pm

Did they even make red Model Ts?

It wasn't the color that bothered me. It is just that the current representation of the car onstage looks silly and cheap, especially in comparison with the surprisingly elegant and effective see-through representation of the piano that they use.

[Dagobert]

Posted: 10/27/09 at 3:03pm

I agree- silly and cheap, but I do think the red color makes for a lot of that. and I believe-according to Henry Ford- Model T's came in any color you wanted so long as it was black.

[LimelightMike]

Posted: 10/27/09 at 4:28pm

Having never been to the Neil Simon previously, where does the first row start at center orchestra? Would Row C provide a decent view of this mounting?

[Oldschool]

Posted: 10/27/09 at 4:44pm

Given the open design of the orchestra pit, I'd recommend 8-15 rows back so you have enough distance to not crane your neck on the tall set as well as get better and more balanced sound from the sound system.

[colleen_lee]

Posted: 10/27/09 at 5:49pm

Re: The Car

The first thing I thought of when I saw Coalhouse get in the car was Fred Flintstone. I had to stifle a giggle, but after that initial scene I got past my problems with the car.

Updated On: 10/27/09 at 05:49 PM

[Dolly_Levi]

Posted: 10/27/09 at 8:17pm

Colleen,

My friend who was sitting beside me at Sunday's eve show - whispered the same thing when Coalhouse got in the car - "Flintstones."

[Schmerg_The_Impaler]

Posted: 10/27/09 at 8:20pm

Fosse76-- I only saw the DC production, but I felt like Steggert was the standout of the show, despite his relatively small role.

But I agree, I didn't like the car. I did love the piano, though.

[itsneverover]

Posted: 10/27/09 at 8:39pm

Any idea of the running time? I'm going to the matinee on Halloween, can't wait!

[DottieD'Luscia]

Posted: 10/27/09 at 8:45pm

About 2 hours 45 minutes.

[perfectlymarvelous]

Posted: 10/27/09 at 8:46pm

It's running around 2 hours and 45 minutes, at least as of last Friday night.