RAGTIME 2025 Previews- Page 2

[HeyMrMusic]

Posted: 9/26/25 at 11:38pm

ErmengardeStopSniveling said: "EDSOSLO858 said: "As discussed before, this revival will feature a 28-piece orchestra, making it the largest band on Broadway at the moment."

This prompted me down an IBDB rabbit hole. Does WICKED still have 23 + conductor, same as when it opened? If so, that's the next-largest orchestra on Broadway, followed by a few shows in the 18-20 range (Aladdin, Lion King, DBH, Great Gatsby)."

The Lion King also has 23 + conductor. A great resource for current Broadway orchestras is broadwaymusicians.com.

[Jordan Catalano]

Posted: 9/27/25 at 12:04am

I thought this was a nice upgrade from the City Center production. Some elevated staging which was very nice to see. If you were a fan of it before you probably still will be and if you didn’t like it there, I’m not sure it’s “enough” of a change to convert you, but we really loved tonight. Caissie has put in a lot of work on her character and is just fantastic. Joshua Henry of course will still walk away with every award because his Coalhoise has only gotten stronger. Uranowitz and Levi-Ross are just as superb as before and I’m so glad they both made the move with this. 

Standing ovations after “Wheels of a Dream” and “Make Them Hear You”, which I was fine with. I thought with a first preview crowd they’d stand after every song so I was fine with just two. And that little Coalhouse is the cutest thing that’s ever walked this planet. 

All in all, any flaws with the actual production for me, are more than made up for just with the perfect book, a perfect score and that incredible orchestra. 

[EDSOSLO858]

Posted: 9/27/25 at 12:07am

How was Anna as our new Evelyn?

 

Click Here To Toggle Spoiler Content

And does everyone still whisper-sing that final “dream”?

I haven’t seen a running time listed anywhere, but didn’t this push 3 hours at City Center?

Updated On: 9/27/25 at 12:07 AM

[Jordan Catalano]

Posted: 9/27/25 at 12:10am

Anna was really wonderful! 

And we were out at 10:50-ish tonight. 

[malcs98]

Posted: 9/27/25 at 12:29am

Jordan Catalano said: "I thought this was a nice upgrade from the City Center production. Some elevated staging which was very nice to see. If you were a fan of it before you probably still will be and if you didn’t like it there, I’m not sure it’s “enough” of a change to convert you, but we really loved tonight. Caissie has put in a lot of work on her character and is just fantastic. Joshua Henry of course will still walk away with every award because his Coalhoise has only gotten stronger. Uranowitz and Levi-Ross are just as superb as before and I’m so glad they both made the move with this.

Standing ovations after “Wheels of a Dream” and “Make Them Hear You”, which I was fine with. I thought with a first preview crowd they’d stand after every song so I was fine with just two. And that little Coalhouse is the cutest thing that’s ever walked this planet.

All in all, any flaws with the actual production for me, are more than made up for just with the perfect book,a perfect score and that incredible orchestra."

I agree with everything you said; the amount of work that’s been put into this production since City Center really is mind-blowing, it almost feels like a completely different show. Major props to DeBessonet on this one who not only steps up her game for this production, but she more than proves she’s gonna do amazing things as the new artistic chair for Lincoln Center Theater. If her work at NYCC was one thing, I cannot imagine and eagerly await to see what she’s able to accomplish for LCT. 

Updated On: 9/27/25 at 12:29 AM

[Jordan Catalano]

Posted: 9/27/25 at 12:31am

The opening number was STUNNING. 

[TBone]

Posted: 9/27/25 at 12:36am

It was really exciting to see how most of these performances have grown since the City Center run. Caissie in particular really impressed me tonight and won me over. Can't wait to revisit it next month and see how things continue to evolve. I thought Caissie, Joshua, Brandon, Ben, and Shaina were all really wonderful this evening.

I did not love the video wall - I thought some of the videos/images used in the first act were cheap and silly looking, but thankfully they weren't used too much.

Orchestra sounded fantastic... what an absolute delight to have this score back on Broadway.

Does anyone have an extra playbill with the first preview sticker? From what I could see, most of us in the loge did not get  playbills that had the sticker.

 

[malcs98]

Posted: 9/27/25 at 1:10am

Jordan Catalano said: "The opening number was STUNNING."

OMG YES!!! that was the moment when I was like “am I hallucinating or am I watching a completely different production than I saw at City Center?”

[FANtomFollies]

Posted: 9/27/25 at 6:15am

Can someone elaborate on the physical production? How much scenery is there and is it realistic/abstract? Also is the Model-T the same or has that been upgraded? I'm hoping it's a beautiful production but nervous hearing there are ugly pictures on a video wall...

[ACL2006]

Posted: 9/27/25 at 7:18am

FANtomFollies said: "Can someone elaborate on the physical production? How much scenery is there and is it realistic/abstract? Also is the Model-T the same or has that been upgraded? I'm hoping it's a beautiful production but nervous hearing there are ugly pictures on a video wall..."

I'm curious to hear about their set/scenery, etc. as well.

[Owen22]

Posted: 9/27/25 at 8:01am

I was in the minority, but I really enjoyed deBessonne's direction of Uncle Vanya.  I was less thrilled with her Encores Ragtime, but it being Encores I knew it would be put together quickly.  I'm glad to hear she has dug deeper and worked with Cassie and the Lincoln Center production will be a much more elevated production. 

[TBone]

Posted: 9/27/25 at 9:56am

FANtomFollies said: "Can someone elaborate on the physical production? How much scenery is there and is it realistic/abstract? Also is the Model-T the same or has that been upgraded? I'm hoping it's a beautiful production but nervous hearing there are ugly pictures on a video wall..."

I'd describe the set as mostly realistic "pieces" that were brought on and moved around - fences, a planter, a door frame, carts etc. We also had the two large stair cases that were used for the ships during Journey On, The Night that Goldman Spoke at Union Square and He Wanted to Say.

The videos I did not love were the spooky-halloween forrest image (video?) used for the fire house scenes (Why are the firefighters hanging out in the woods?) and whatever they used to represent the train (a square platform that rises from the floor) moving along the track - were they trees with no branches? Telephone poles?  This video screen was not used all that often... there were some other videos for Ellis Island and during "Success" but those were fine and did not distract. The wall may also benefit from sitting closer to the center. I was upstairs in the 500 section.

The only really abstract set piece I can recall was during Back to Before... which I *loved* but after having very literal representations as set pieces, I feel like this stuck out a bit... but it was gorgeous and a very beautiful effect - especially the transition into the library scene.

I was also a bit disappointed with the car. No car on stage for Wheels of a Dream? It exists but is not "driveable" and we only see it during Henry Ford and the Trashing of the Car. During Coalhouse's first encounter  with the firemen (in the spooky forest), we only see video of the car's headlights on the video screen. That's the one thing I didn't think they'd cheap out on at Lincoln Center.

Regardless of my quibbles, this show should be seen, and I can't wait to revisit it.

 

Updated On: 9/28/25 at 09:56 AM

[ErmengardeStopSniveling]

Posted: 9/27/25 at 10:00am

Owen22 said: "I was in the minority, but I really enjoyeddeBessonne's direction of Uncle Vanya."

She didn’t direct Uncle Vanya. That was Lila Neugebauer.

[ErmengardeStopSniveling]

Posted: 9/27/25 at 11:55am

I thought this production was merely okay at City Center, so I'm very pleased to see these reports from last night and excited to go in a few weeks!

Lear is only the fourth director to helm a musical on the Beaumont stage in the past 20 years (the others being five Bart Sher productions, one James Lapine production, and one Tina Landau production). And James Moore is only the third music director/conductor to open a show at the Beaumont in the past two decades (five conducted by Ted Sperling, two conducted by Kim Grigsby).

[Daisy Crumpler]

Posted: 9/27/25 at 12:23pm

Does Caissie still mix/belt most of Mother's material or is she using more head voice? It was odd for such a restrained character to be so full throated (and I've always loved Lynn Ahrens's comment that Mother does not really belt until "Back to Before" as she is now thinking and feeling in more modern ways).

[malcs98]

Posted: 9/27/25 at 1:54pm

Daisy Crumpler said: "Does Caissie still mix/belt most of Mother's material or is she using more head voice? It was odd for such a restrained character to be so full throated (and I've always loved Lynn Ahrens's comment that Mother does not really belt until "Back to Before" as she is now thinking and feeling in more modern ways)."

From what I heard, She definitely uses a lot more head voice. I could definitely tell they changed the key change for “Journey On” down a half-step…but that’s only a minor thing I noticed 

 

[FANtomFollies]

Posted: 9/27/25 at 2:15pm

Do the actors have costume changes now? I think almost everyone stayed in the same costume at NYCC. I'm also specifically wondering about Sarah's costume(s) - she was in a new dress in the recent Vogue photoshoot but I saw that in videos of the curtain call last night she appeared in the same dress from NYCC. 

[TBone]

Posted: 9/27/25 at 3:19pm

No one had any major costume changes that I can recall and I can remember only Tateh and Harry Houdini actually changed into an entirely new costumes for Act Two (I don’t remember if Harry changed during Atlantic City at CC, but he changed last night) and Sarah did wear the same dress as CC. 

[ErmengardeStopSniveling]

Posted: 9/27/25 at 4:31pm

Speaking of changes:

Looks like the Beaumont lobby has new red carpet that’s replaced the drab multi-colored rectangles it previously had. Looks much nicer! Have there been any other changes in the lobbies?

Theres also a big poster by the mezz level entrance that appears to be visible through the window from the pool outside the Beaumont, which I think is also new. EDIT: this part is not new.

Updated On: 9/27/25 at 04:31 PM

[Fordham2015]

Posted: 9/27/25 at 4:38pm

ErmengardeStopSniveling said: "Speaking of changes:

Looks like the Beaumont lobby has new red carpet that’s replaced the drab multi-colored rectangles it previously had. Looks much nicer! Have there been any other changes in the lobbies?

Theres also a big poster by the mezz level entrance that appears to be visible through the window from the pool outside the Beaumont, which I think is also new."

They did the poster thing for McNeal too

[getatme]

Posted: 9/27/25 at 11:20pm

I was also at first preview last night and while I think many of the performances deepened and improved, I found the staging largely uninspired and lackluster. The opening number is thrilling to watch and utilizes the turntable well, after that the staging felt very bare bones and by the books.

Luckily, the performance elevate the entire evening and if the performances were even slightly less impressive than they are, I think the whole thing would feel dull.

Henry sells his numbers incredibly well, with passion and emotion that shakes the rafters of the Beaumont. I'm less sold on him in the book scenes, but not to the point where I have issues with his performance.

Uranowitz is top to bottom incredible. A fully inhabited, soulful, and lived in performance. Must be one of the greatest working actors right now, imbuing all of his roles with life and energy that radiates from his toes to his curls. Just a stunning performance.

Levy has settled in very well, the altered key for Goodbye My Love helps set her up for the rest of the show very well. Is she Marin? No. But she is a lovely, heartfelt actor who is able to maneuver the score well and deliver a really wonderful Back to Before.

Ben Levi Ross is doing truly phenomenal work. He is such a unique, odd little actor but every move he makes feels specific and intentional. Gorgeous voice as well.

Wasn't impressed with Donnell as Father, but unlike at City Center where I found him distractingly not great, here he merely fades into the background.

The ensemble is filled with some powerful voices that help deliver the epic score beautifully.

Nichelle is the only performance I take issue with. Vocally, she delivers a lot of the score with a pop inflection and tonality that is so out of step with the music and the rest of the company that it is actively distracting. She has good rapport with Henry, but his voice completely obliterates hers during duets. She seems a little lost at sea on the massive stage and the performance just doesn't feel as natural as the rest of the cast's. Makes me wonder what Joy Woods or Joaquina Kalukango would have made of the role.

Overall, while it is not my ideal production of this musical, it's still Ragtime at its core and the cast largely delivers. The orchestra is large and sumptuous and it's hard to be disappointed listening to that score performed live.

[IdinaBellFoster]

Posted: 9/28/25 at 1:19am

I have some quibbles (mainly staging based) but WOW what an evening. The 90 minute first act flys by in what feels like the blink of an eye. This entire production feels like we hit the collective lottery.

I have to disagree with the previous poster on Nichelle Lewis. I thought she was absolutely sensational, and not vocally out of step with anyone else. Caissie Levy also sings the score with a more contemporary belt, and it sounds in keeping with the music. Also I’m thankful someone else pointed out the lowered “Goodbye My Love” key because I thought I was going crazy when I heard it.

The few things I had an issue with I’ll include below as to not spoil too much.

 

Click Here To Toggle Spoiler Content

“Crime of the Century” - she absolutely needs to go up a bit on that swing. The entire number falls flat with her just sitting there??

”Wheels of a Dream” - the two of them are having to do so much more work because there isn’t a single thing onstage with them. Bring the car out? Add something to that (kind of ugly) video screen?

Sarah’s Death - it feels like a blink and you miss it moment within the crowd, which in some ways it is but it felt off tonight. I appreciated the cops not actually continuing to beat her, but the stark white light and nothing but their movements felt like it was missing something. The added choreography during the car attack was great and I wonder if something similar would’ve been effective here.

“Back to Before” - that cloud thing is beautiful but you keep waiting for it to do something and it pulls you away from Levy, who is giving a beautiful performance. This is a moment where a bare stage would’ve been welcomed.

 

Updated On: 9/28/25 at 01:19 AM

[JT2030]

Posted: 9/28/25 at 4:27pm

Echoing what Jordan and the rest of the thread have been sharing --- do I have quibbles? Sure --- many of which may absolutely be adjusted as they continue the run (had the privilege of being at the first night on Friday as well.) The audience was ready to love it, and responded so generously and sincerely to what we were sharing, the two standing ovations mid-show were very deserved IMO and the very kind house staff handed me some tissues as I was heading to the lobby during intermission, I tried to be quiet but "Til We Reach That Day" shook me.

Having missed the City Center production but only heard superlatives, the principals were across the board wonderful to me. I hope Joshua Henry earned a very deserved series of awards come spring. And as a Marin Mazzie superfan, Cassie Levy really held her own against my own memories of her special performance; "Back to Before" was gorgeous.

Some of the video worked better for me than others (also at a loss of why the Haunted Forest background showed up....?)  And the car IMO is so critical to the story, both the original novel and the musical, that I was happy to see one vs. the revival from DC that played the Neil Simon awhile back.

Got a front row center Loge seat -- the Beaumont is one of my personal favorite theaters and while I spoiled myself w/that spot, I clocked the theater a few times and I don't think anything would necessarily be obstructed, so nab some less expensive tix while you can (code LCTRAGTIME still works, for now....)

Was briefly introduced by an usher to someone in the back of the Loge who said they were part of the team and the intention absolutely is to run it well past January 4th, which I hope reviews and sales support it doing. Do treat yourself to an excellent production and unforgettable performance of the music by the brilliant musicians in the pit.

[ErmengardeStopSniveling]

Posted: 9/28/25 at 6:04pm

JT2030 said: "the intention absolutely is to run it well past January 4th, which I hope reviews and sales support it doing."

I have a hard time seeing this as the rare production of Ragtime to break through to mainstream audiences, but I'd love to be proved wrong!!! (Haven't seen; I'm going in a few weeks.)

Going by Telecharge availability, it appears quite well-sold through October (helped by LCT's member program), less good in November & December.

This winter might be especially thin on Broadway, but I don't know how much that will help. A sizable chunk of New Yorkers will have had months to see it by then, tourism will be low, and those who might have paid full-price will have ample discount opportunities. The big Bart Sher LCT revivals opened in spring and didn't have to survive the winter.

The other elephant in the room is that this has a big chunk of commercial enhancement financing from Tom Kirdahy and 18 other associate-producers. But that doesn't mean there's unlimited money to run the show at a loss, and sometimes the commercial partners don't start sharing in revenue until after an extension (each agreement is different).

[bwayphreak234]

Posted: 9/28/25 at 7:20pm

I’ll preface this post by admitting that I am a diehard fan of Ragtime. I truly believe it is the textbook definition of a perfectly crafted musical in terms of the score, book, and overall structure. For me, it is a perfect show.

I saw this at City Center last year and really loved it. What’s onstage at the Beaumont now is definitely a full-fledged production. This is not just a jazzed up remount of the Encores! staging like we saw with Into the Woods and Once Upon A Mattress.  I really appreciate the fact that this is a completely fleshed out new production.

That being said, I did find some of the direction and design choices to be a little… odd? Thankfully, the projections are kept to a minimum, but some of them are just strange (i.e. the cartoonish ship and waves for the harbor and the trees for the fire station). The vast stage of the Beaumont is used well for the most part, especially the turntable and trapdoors. However, there are some moments where the stage looks rather empty.

Those minor quibbles aside, I loved this. The opening number is brilliantly staged - I got full body chills watching it. The cast remains excellent. Cassie Levy has come a long ways and has really found the character of Mother. Nichelle Lewis still struggles to vocally “keep up” with Joshua Henry when they are singing together, but, again, minor quibble.

At the end of the day, you have an all-star Broadway cast backed by a 28-piece orchestra performing a masterpiece of a show. That in and of itself was enough for me to leave the theatre feeling fully satisfied despite a few weird direction and design choices. All in all, a glorious time at the theatre.