City Center's 24-25 Season: Ragtime, Urinetown, LaChiusa's Wild Party, Love Life- Page 10

[QueenAlice]

Posted: 10/31/24 at 5:54pm

INTO THE WOODS and PARADE both had bankable names attached.  I understand those transfers more than RAGTIME.

 

[Huss417]

Posted: 10/31/24 at 5:57pm

Play Esq. said: "Strangely, Nov 6 is the only date unavailable. Anyintel as to why or if tickets will open up for that performance?"

When I looked earlier today I think there was 40 seats available so might just be sold out. It appears the balcony is also sold out for all performances.

[BETTY22]

Posted: 10/31/24 at 6:06pm

New York Times CRITICS PIX....congrats 

[MezzA101]

Posted: 10/31/24 at 7:52pm

Dylan Smith4 said: "Huss417 said: "kwoc91 said: "NYT Critics Pick from Jesse Green"

Anyone able to give a clue of what the review says?"

He ends with this:

Perhaps this “Ragtime” is so moving precisely because its most tragic character can still convince you, at least in music, that there is hope for America, even now.

NYT Review: A Vocally Splendid ‘Ragtime’ Raises the Roof

 

https://www.nytimes.com/2024/10/31/theater/ragtime-review-city-center.html?unlocked_article_code=1.WU4.oJOC.8aq3ysuuwbj4 

[starlightlocamotion]

Posted: 10/31/24 at 8:24pm

Is it strong enough to be competitive with SUNSET for Best Revival? or is this just another production of Ragtime that’s incredibly well sung? 
 

The season is becoming increasingly more exciting by the day! 

[TheatreMonkey]

Posted: 10/31/24 at 9:04pm

Currently, on the BWW Review Roundup for the show, only the NYT "Critic's Pick" is up -- but the "Average Score" is only 80% -- what gives, BWW?! Pretty sure that's a 100%, or at least a 90%. 

[bigbelterbaby]

Posted: 10/31/24 at 9:15pm

What I don’t get is why the 2010 revival with Christiane Noll and Stephanie Umoh was not that successful? And that revival to me feels like it wasn’t that long ago although it is going on 15 years ago but it seems like there has been a cultural shift that people now appreciate the show a lot more than they did back then?! 

[EDSOSLO858]

Posted: 10/31/24 at 9:19pm

bigbelterbaby said: "What I don’t get is why the 2010 revival with Christiane Noll and Stephanie Umoh was not that successful? And that revival to me feels like it wasn’t that long ago although it is goingon 15 years ago but it seems like there has been a cultural shift that people now appreciate the show a lot more than they did back then?!"

Mixed reviews + victim of the recession. Interestingly, despite the huge cast and orchestra, its capitalization was only $8 million, which would be about $11.5 mil in today’s money. 

[WldKingdomHM]

Posted: 10/31/24 at 9:23pm

bigbelterbaby said: "What I don’t get is why the 2010 revival with Christiane Noll and Stephanie Umoh was not that successful? And that revival to me feels like it wasn’t that long ago although it is goingon 15 years ago but it seems like there has been a cultural shift that people now appreciate the show a lot more than they did back then?!"

Because it was terrible. Stephanie …:shakes head:

[TotallyEffed]

Posted: 10/31/24 at 9:41pm

bigbelterbaby said: "What I don’t get is why the 2010 revival with Christiane Noll and Stephanie Umoh was not that successful? And that revival to me feels like it wasn’t that long ago although it is goingon 15 years ago but it seems like there has been a cultural shift that people now appreciate the show a lot more than they did back then?!"


There’s been a major cultural shift and it’s called Trumpism.

[Robbie2]

Posted: 10/31/24 at 11:07pm

starlightlocamotion said: "Is it strong enough to be competitive with SUNSET for Best Revival? or is this just another production of Ragtime that’s incredibly well sung?


The season is becoming increasingly more exciting by the day!"

+ GYPSY Tom Kirdahy producer along with  RAGTIME 

Updated On: 10/31/24 at 11:07 PM

[ErmengardeStopSniveling]

Posted: 10/31/24 at 11:23pm

QueenAlice said: "INTO THE WOODS and PARADE both had bankable names attached. I understand those transfers more than RAGTIME."

This. I love the show but I just don’t ever see RAGTIME being economically viable without some magical unicorn of a star, which this production doesn’t have.

I’m probably alone in this opinion but I’d like to see a version cutting Nesbit, Henry Ford, What A Game, and trim down some of the other superfluous numbers to focus the show a little better around the 3 families. 

[DramaTeach]

Posted: 11/2/24 at 7:11pm

Well, it may have a tough time selling with an open run, but Joshua Henry’s Coalhouse and Uranowitz’s Tateh deserve a Broadway run. Both men are giving gorgeous performances. One gives power to his performance every time he opens his mouth and the other infuses his character with so much life that he breaks and heals your heart at the same time. Decide for yourselves which is which. 

Other standouts for me were Sarah, Brother, Emma, Booker T., and basically everyone in the ensemble. Levy was very good, but I wouldn’t call her exceptional. Donnell was fine. Styles just didn’t have enough to do as Nesbitt. She did what she could.

There’s not much to the set (of course) - a couple of staircases, a swing and a couple of benches. The orchestra on stage was beautiful and made the music even more haunting as it lingered behind them. Choreography was good. But that music…it’s all about the music.

Updated On: 11/3/24 at 07:11 PM

[Scarywarhol]

Posted: 11/2/24 at 10:05pm

I'm curious if they've kept the revival's cuts. Like is the Houdini escape at the top of Act II in it/is the Henry Ford number even shorter?

[DramaTeach]

Posted: 11/2/24 at 10:14pm

Scarywarhol said: "I'm curious if they've kept the revival's cuts. Like is the Houdini escape at the top of Act II in it/is the Henry Ford number even shorter?"

Saw the revival but don’t remember enough to give you solid feedback except to say there’s no Houdini escape at the beginning of act two.

[ErmengardeStopSniveling]

Posted: 11/2/24 at 10:23pm

No Houdini escape (which I recall being optional or cut from the original?)

To my ears, everything musically is consistent with the original. No keys changed, which actually does Shaina a disservice during He Wanted To Say. I'll admit I thought some of the revival's trims were good. There is one impactful musical change but it's a conducting thing, not an arranging thing.

Shout out to MD James Moore, who has kind of become the keeper of the Ragtime keys:

• associate conductor/keyboardist on the original
• associate conductor/keyboardist on one of the touring companies
• MD'd/conducted the Kennedy Center production & 2009 revival
• MD'd/conducted the 2023 concert
• MD'd/conducted the current City Center production

Updated On: 11/2/24 at 10:23 PM

[FANtomFollies]

Posted: 11/3/24 at 7:31am

I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother'  in the last revival to be one of the main standouts for me, especially in his confrontation with Father.

[bwayphreak234]

Posted: 11/3/24 at 7:44am

FANtomFollies said: "I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother' in the last revival to be one of the main standouts for me, especially in his confrontation with Father."

Happy to weigh in. I thought Nichelle Lewis was one the sole weak link the cast. She wasn't bad by any means, but I just thought all of the other performances were on a whole other level than hers. I thought Ben Levi Ross was absolutely terrific - a very strong performance.

[DramaTeach]

Posted: 11/3/24 at 7:53am

bwayphreak234 said: "FANtomFollies said: "I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother' in the last revival to be one of the main standouts for me, especially in his confrontation with Father."

Happy to weigh in. I thought Nichelle Lewis was one the sole weak link the cast. She wasn't bad by any means, but I just thought all of the other performances were on a whole other level than hers. I thought Ben Levi Ross was absolutely terrific - a very strong performance."

It worked for me that her voice doesn’t have as much strength as someone like Audra’s. Her character is going through stuff and she’s fragile, so the voice being fragile made sense. Brother had strength and humor and you could feel his desire to find his place. I thought an added interesting layer to this was his longing gaze as Coalhouse plays the piano. Ross gave his character an extra layer of desperation to “find himself” because maybe he too was an outsider.

[bwaylyric]

Posted: 11/3/24 at 8:04am

bwayphreak234 said: "FANtomFollies said: "I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother' in the last revival to be one of the main standouts for me, especially in his confrontation with Father.""

At first, I was disappointed that Kalukango dropped out of the show, but I’m so relieved that Nichelle Lewis ended up getting cast because she blew me away and exceeded my expectations. 

The weak link for me me was Levy. 

Updated On: 11/3/24 at 08:04 AM

[ErmengardeStopSniveling]

Posted: 11/3/24 at 8:49am

FANtomFollies said: "I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother' in the last revival to be one of the main standouts for me, especially in his confrontation with Father."

Colin Donnell and Nichelle Lewis’s performances were competent in a sea of great-to-excellent performances. Maybe with more rehearsal time they could improve.

I think BLR is wonderful but the confrontation scene with father doesn’t work largely because of Donnell.

[Codeman109]

Posted: 11/3/24 at 8:49am

DramaTeach said: "bwayphreak234 said: "FANtomFollies said: "I would love to hear some more thoughts on Nichelle Lewis and Ben Levi Ross. I found Bobby Steggert as 'Younger Brother' in the last revival to be one of the main standouts for me, especially in his confrontation with Father."

Happy to weigh in. I thought Nichelle Lewis was one the sole weak link the cast. She wasn't bad by any means, but I just thought all of the other performances were on a whole other level than hers. I thought Ben Levi Ross was absolutely terrific - a very strong performance."

It worked for me that her voice doesn’t have as much strength as someone like Audra’s. Her character is going through stuff and she’s fragile, so the voice being fragile made sense. Brother had strength and humor and you could feel his desire to find his place. I thought an added interesting layer to this was his longing gaze as Coalhouse plays the piano. Rossgave his character an extra layer of desperation to “find himself” because maybe he too was an outsider."


Echoing this! I noticed aspects of Brother that I never did before. I thought Ross was outstanding. 

[ColorTheHours048]

Posted: 11/3/24 at 9:05am

I have mixed thoughts overall after after seeing Ragtime last night. The biggest thought I had was that I think I really dislike what was happening in musical theatre in the 90s (seriously, go look at the list of Best Musical nominees from 1990-99; bleak). This is another very strange musical like Titanic or Parade (interestingly both tackled by Encores): it goes big and symphonic, and yet never feels genuinely stirring in any authentic way. At least, not consistently.

Bigger-than-expected quibbles aside, there were very bright spots in the performances of Joshua Henry and Brandon Uranowitz. They’re the reason for this production to transfer, if it does, and we’ll be all the luckier for them to have a more luxurious rehearsal period. Brandon brings an urgency to Tateh that feels like it has been brewing in him for decades. It’s a deeply felt and passionate performance we rarely get on the Encores stage. The same could be said for Joshua, who continues to prove himself one of the best vocalist actors in musical theatre today. Every time he opens his mouth to sing, it is stunningly powerful, more than I’ve ever heard him be before. When he lets those big “with you” notes soar in “New Music,” you can feel the audience collectively holding their breath. Remarkable performances, both.

Elsewhere, things are less exciting. Caissie Levy is good, and belts “Back to Before” with great clarity if not deep feeling. Nichelle Lewis is charming and powerfully tackles “Your Daddy’s Son,” but otherwise doesn’t really register amidst all the narrative chaos, making the impact of the end of act one a little blunted. The other performances are all fine and unremarkable.

Perhaps my lack of passion for Ragtime itself has me feeling a little ho-hum about it, but I really do think there’s a way to make this a more urgent piece of theatre outside of just the themes it’s expressing. It would probably involve trimming a LOT of the fat, but I think more rehearsal time or more conscious directorial decisions could go a long way. As a concert, it has two incredible lead performances and an ensemble of more than capable actor/singers respectably presenting the material. But not my favorite Encores staging by a long mile.

Updated On: 11/3/24 at 09:05 AM

[Huss417]

Posted: 11/3/24 at 9:35am

City Center must be pleased. Out of the 9 performances left only 4 are showing availability and those 4 are extremely limited.

Updated On: 11/3/24 at 09:35 AM

[MezzA101]

Posted: 11/3/24 at 8:28pm

NYT: ‘Ragtime’ Crushed Brandon Uranowitz’s Dream. Now It’s Healing His Wounds.

https://www.nytimes.com/2024/10/29/theater/ragtime-brandon-uranowitz-city-center.html?unlocked_article_code=1.XU4.dD9B.EXJKCo7kMELQ