RAGTIME 2025 Reviews — Page 9

EDSOSLO858 said: "The full company performing "Prologue: Ragtime" on GMA this morning, pre-taped from the Beaumont:

https://www.goodmorningamerica.com/video/128105418"

They barely show the audience at all which is completely un-noteworthy unless you were at the taping. It appeared they hadn't come up with a plan ahead of time of where to seat the audience and a good chunk of time was spent reseating people. Including for shots that weren't used.     

Does anyone know why in Feb and March there are a few dates without a Saturday matinee?

Julie Benko is a great choice!

Updated On: 12/10/25 at 09:30 AM

ACL2006 said: "CJRochester said: "Julie Benko will join the cast in January, playing Emma Goldman. Shaina Taub will take a two month leave of absence. Great casting!

https://www.broadwayworld.com/article/Julie-Benko-Will-Join-the-Cast-of-RAGTIME-in-January-20251210"



Isn't Benko a little too young for the role?"

Emma Goldman would have been mostly late 30's in the years that Ragtime takes place. Julie is 36 so her age is fine, it's just that she reads SO much younger than that. I feel like Emma needs some gravitas that Julie doesn't have, and actually Shaina needed some more as well, for my money. That said, I'm sure she'll do a great job and it does fit into this production's version of Emma.

Taub is also 37. 

CJRochester said: "ACL2006 said: "Isn't Benko a little too young for the role?"

Actually I thought Shaina Taubseemed a little too youngwhen I saw this last month. Her face looked pale and pretty, and she had a sweet, hi-pitched voice. Other Emmas I've seen look more weather-beaten and have a more gravelly voice.

"

Exactly. Julie Benko could really play Evelyn Nesbitt or Mother. I wish the casting for Emma was more distinctive. 

EDSOSLO858 said: "This is very good casting.

Didn't Benko play a similar Goldman-esque firebrand on stage in HARMONY?

Also, don't sleep on Paul Slade Smith. He was a very good Frohman / Hook when I saw him in FINDING NEVERLAND."

She did. And as somebody who saw her both in Funny Girl AND in Harmony, she was fantastic. This is perfect casting and I cannot wait to see what she brings to the role. 

inception said: "CJRochester said: "
Actually I thought Shaina Taubseemed a little too youngwhen I saw this last month. Her face looked pale and pretty, and she had a sweet, hi-pitched voice. Other Emmas I've seen look more weather-beaten and have a more gravelly voice.


I think that sort of casting might have been influenced by Warren Beatty casting Maureen Stapleton as Goldman in his film Reds.

I think that sort of casting is more influenced by how Goldman actually looked.  Google pictures of her....a sweet lil Julie Benko-type she was not.  But I'm totally here for the casting and excited I get to see Julie when I finally see this in January.  
"

 

The Rural Juror said: "Saw this on Saturday night. I found the production incredibly moving from the very first moments. The energy on stage is absolutely electric, in no small part due to the incredible cast. It's such a privilege to see a collection of Broadway stars at the top of their craft doing such fantastic work.

Joshua Henry is getting most of the attention, and deservedly so. His voice is just insane in the room. There were moments where I felt like they may have cut his mic as his voice filled the room adequately on it's own. I know Caissie Levy has gotten some criticisms here, but I was so invested in her portrayal of Mother. Such a lived in and compelling performance of the character. Brandon Uranowitz was incredible and endlessly likable. I wasn't ready for how different I was going to findBen Levi Ross' as Younger Brother, but I haven't stopped thinking about many of his choices, in a good way.

The show is long, but I personally felt like I didn't want it to end. I cannot imagine anything as entertaining and moving as what's going on at the Vivian Beaumont right now. It could have been five hours and I wouldn't have minded.

There are issues with the book (as there have always been) that I'm probably just used to so wasn't bothered by. The only big issue I hadwas the staging of "Wheels of a Dream." The stage was just too bare for me. Henry and Lewis are selling the **** out of that number, but I really needed the titular car on that stage with them. It would have made the car's destruction a few scenes later more impactful."

Yes agree about the car.   The direction just isn't strong and there is a real lack of creativity there.   The cast, full orchestra and "Sweeney Todd" reveal of the cast help.  Just wished we could have gotten a better direction on this great show and fantastic cast.  (We also would have replaced Lewis - who is fine but could be better in different hands).

I am a huge fan of Julie Benko.   But I find it kind of interesting that she would leave one successful engagement (Guys and Dolls) 10 days earlier, to replace a role in "Ragtime" for two months and thus completely give up "Marcel on the Train" -  which was a world premiere at Classic Stage.   Years ago some friends of mine in opera and theater --- said they were always reluctant to cancel one engagement to go another like that.   Not being aware of current trends---maybe this is totally the norm?  You get a better offer and you take it?  It might be that the "Ragtime" -- even though it is has been running a while and the cast album recorded -- is the more high profile career important event?  More important production and venue?  Garner more attention?   Obviously she knows exactly what she is doing --- but I still find it interesting. 

RAGTIME is now up at TKTS and the Broadway week BOGO deal is for the rear mezz. Looking like plenty of ticket availability for January.

Who’s catching Julie Benko in her Emma Goldman debut tonight?

i was also there tonight.

i absolutely loved this at City Center- it was right after the election, and the last half hour of the show had me weeping. Uranowitz in particular was a revelation, and Henry, of course, and also Levy, brought the house down. Just marvelous performances bringing a creaky but sweeping piece to life.

Seeing it again now, it felt way creakier. The haphazard feel of City Centers helped the piece because once its more staged, and taken more seriously by the cast/audience, its flaws are way more glaring. Tonight, the stale jokes (ie, every attempt at a joke) made me wince. The story's silliness and the white savior tale and the cheesiness all spoke much louder to me. I was disappointed. (and the sound was not crisp- hard to understand a bunch of characters, and some punchlines fell flat as a result).

but theres no one to really blame for this, at least on stage. the performances remain remarkable. Levy was great last year but now shes the core of the show, and she knocks Back to Before out of the park. Henry will and should win the Tony--his voice has never sounded better, and he commands every scene. Both him and Levy feel born to play these roles. 

Uranowitz felt more jokey to me- almost like Tateh was there for comic relief? I cant identify anything different and he still breaks your heart and sounds/looks the part, but I thought he was a leading role last year, and tonight he felt supporting. On the flip side, i thought Nichelle Lewis was uncomfortably bad at City Center (and in the promotional performances ive seen this year) but she held her own tonight- still overly hysterical, but in fine voice. Shes clearly being directed to yell and wail, but I found her way more credible. Colin Donnell was also less of a stock character tonight than I remember.

You would never know that this was Benko's third performance. The perfect amount of pluck, and she really sings in a way I dont remember Taub being able to. Has anyone seen John Clay as Coalhouse? No one sounded clearer tonight. Its an impressive ensemble, always in frantic motion, like the music wants them to be. All well done.

Alot still works, and some of the design was lovely. But I guess what burst off the stage at City Center gets a bit swallowed up at Lincoln Center, and i was left cold(er).

still alot of fun to be in a sold out audience losing their minds for some great numbers.