RAGTIME sets a new standard for musical revivals- Page 4

[DottieD'Luscia]

Posted: 11/18/09 at 6:23pm

Thank you, NotYourMemories. I saw the DC production numerous times and the Broadway production twice so far and I also noticed something missing with the musicality with the introduction of the Morgan Library. I'm not sure which piece is missing, but the "grand" sound is definitely gone.

[phantomvegas2]

Posted: 11/18/09 at 9:38pm

This would be perfect for PBS Great Performances

Posted: 11/19/09 at 3:54am

I didn't remember fireworks in the original production (everyone carps on the car but I think it was important to show partly because it was such an important thing to Coalhouse--and then to see a real fancy sparkling car brings it into sharp relief. Besides most versions of Night Music feature TWO working cars--it's silly how people who want to detract from the original production and prove that it was overblown all say "it had a car in it!").

[lovesclassics]

Posted: 11/19/09 at 5:04am

Oh, the inconsistencies.

People criticized Stafford Arima's Paper Mill production for being stripped down and not having a car. Now Marcia Milgrom Dodge is getting cheers for stripping things down and not having a car OR a piano!

I haven't seen this revival yet, but it just seems that MMD is getting praised for "reinventing" Ragtime when a similar approach was actually done quite well before her. Arima was nominated for an Olivier in the West End for his version that was later restaged at Paper Mill. What he accomplished then is what supposedly is being accomplished now: a better connection with the people instead of the pageant. Reviewers certainly felt that way. Variety raved. So did many, many others.

I love Ragtime and I'm glad that people who have never seen it are getting that opportunity. But this production doesn't have to nullify what came before it. The original was terrific in its own way. So was Arima's version. Who knows. This revival may become my favorite. But even if it does, I'll still cherish the other great productions I've seen.

Posted: 11/19/09 at 5:12am

The voice of reason. I completely agree. I'm just kinda sick of the safe criticism that a more elaborate production is automatically more artistically void. (For more of this check out the endless self congratulatory stuff Signature Theatre, a theatre I have a ton of respect and love for, are releasing themselves about their Show Boat. The first thing they BRAG about is how their Show Boat doesn't have a boat, and they basically say any production that had a boat was all about spectacle at the sake of the story or characters *rolls eyes*)

[sgv123]

Posted: 11/19/09 at 5:51pm

Here is a video of the opening number:

http://www.youtube.com/watch?v=n-SSEAwfQzs

[lovesclassics]

Posted: 11/19/09 at 9:45pm

And for nostalgia's sake...

Original 1998 cast at the Tony Awards

[AC126748]

Posted: 11/19/09 at 10:23pm

I actually loved the Paper Mill production (I mean, come on...Rachel York AND Kenita Miller? What more could you ask for?) I just found this one better and a bit more well-developed.

[orangeskittles]

Posted: 11/20/09 at 12:40pm

I finally saw it again last night. I was in the mezzanine, and it was probably 80% full (I didn't look downstairs). The only noticeable emptiness was in a block of seats in the mid-section of the rear, but it looked like maybe a group hadn't shown up. There were seats filled behind and to the sides of it, so it seemed odd that the 30 or so seats would have been the unsold leftovers. Enthusiastic response, and most of the audience seemed NYC-based instead of tourists. And I know, yes, American audiences are horrible ingrates who give standing ovations to everything- but rarely do people who just "stand for everything" jump up before the curtain has gone down completely on the finale.

There was one reaction that caught me off guard last night. At the start of Coalhouse Demands, when the newsboys announce that the "Negro gunman shoots 3 dead", a group of people applauded. It was really strange. I saw the show- god, 6? 7? times in DC and never had anyone react to that. I wouldn't even consider having an appreciative reaction to that. There was also cheering after Mother's Younger Brother tells off Father, but that I can understand and relate to. Killing people in retaliation, no.


On the current topic- I think you'd be hard-pressed to find someone who loathed the original and did a complete 180 and loved this. When people say they love the changes made in this production, it's not always meant as a slight against the original, it's just being able to appreciate different aspects of the show when seeing it in a new light. No, Marcia Milgrim Dodge didn't reinvent the wheel. She doesn't have the cast playing instruments onstage or performing in Spanish. That doesn't mean she didn't do anything different to be appreciated, and writing it off as completely derivative when you haven't even seen this production is kind of ridiculous.

[DottieD'Luscia]

Posted: 11/20/09 at 12:43pm

orangeskittles, I went again last Saturday and think this production just gets better and better. Unfortunately there are certain posters over at ATC who are going out of their way to bash this production.

Nothing will ever compare to the original, and I'm glad they didn't attempt to just reproduce the original this time around.

[lovesclassics]

Posted: 11/20/09 at 1:07pm

skittles,

I don't know if your comment was directed at me or not. But if so, please read my post again. Nowhere do I "write off" MMD as being "completely derivative." I merely suggest that she's not the FIRST to succeed in taking a more streamlined approach to Ragtime.

The great thing about great works like Ragtime is that new layers and nuances can be discovered by different directors and actors. I have enjoyed several different productions of Ragtime, including the original, the Paper Mill, and a very fine regional mounting in Boston.

Bottom line, I hope this revival DOES bring new attention to a glorious piece of work - not just this production, but the work itself. AND the original cast recording, which is exquisite.

I don't think I'm being "ridiculous" to draw attention to past successes of this great show just because I haven't seen this production yet.

[Oldschool]

Posted: 11/20/09 at 1:22pm

Dottie, could you please provide a link to the ATC postings?

[orangeskittles]

Posted: 11/20/09 at 2:03pm

I don't think I'm being "ridiculous" to draw attention to past successes of this great show just because I haven't seen this production yet.

I think it's being ridiculous to suggest that the praise for the director is unwarranted or inconsistent, because- from your interpretation of the reviews- it's been done before.

This is only the second Broadway mounting, so of course that will be the go-to comparison, as is always the case with revivals. That doesn't mean people are "nullifying" what came before, but rather the fact that most people in the NYC area are only familiar with the original. However, many did see the Paper Mill production and prefer this- Quentin Darrington included. Having the same ultimate goal of "connection with people over pageantry" doesn't mean they all accomplish it in the same way, to the same degree of success.

[Jenna Maroney]

Posted: 11/20/09 at 2:53pm

skittles, I was there last night and assumed the applause during Coalhouse Demands was coming from a newsboy's family or friends. It was clearly concentrated among a few seats.

[adamgreer]

Posted: 11/20/09 at 4:55pm

Oh, the inconsistencies.

People criticized Stafford Arima's Paper Mill production for being stripped down and not having a car. Now Marcia Milgrom Dodge is getting cheers for stripping things down and not having a car OR a piano!

I haven't seen this revival yet, but it just seems that MMD is getting praised for "reinventing" Ragtime when a similar approach was actually done quite well before her. Arima was nominated for an Olivier in the West End for his version that was later restaged at Paper Mill. What he accomplished then is what supposedly is being accomplished now: a better connection with the people instead of the pageant. Reviewers certainly felt that way. Variety raved. So did many, many others.

There is a BIG difference, to me, in what Dodge does, versus what Arima did. I am one of those people who loves the show, but absolutely loathed Stafford Arima's "Chairs, Chairs, Chairs" concept. Arima stripped everything away, including the heart, and basically presented us with Ragtime in Concert. What Dodge has managed to do feels much more theatrical. Yes, the set is minimalistic, but her production is full of theatricality. Arima's concept consisted of a whole lot of people standing around waiting for their turn to sing.

[lovesclassics]

Posted: 11/20/09 at 5:40pm

Hello, adamgreer,

I guess we'll just have to agree to disagree about the Paper Mill production. I actually LOVED the chairs! I thought "Henry Ford" was brilliantly concieved. Kudos to the choreographer, especially, for setting "cogs in motion" with that assembly line. And the sound effect of those chairs hitting the floor in syncopation - wow! Really got across the industrialization.

I felt the performances at Paper Mill really succeeded in getting the emotions across. I CARED about these people. I didn't feel I was watching archetypes. The story of how a changing America was affecting each of them definitely came across to me. And those voices, from the principals to the entire ensemble, were fantastic. Plus I felt there was plenty of theatricality, despite the minimalist set. As an example, the use of those frosted glass panes in the back to silhouette, mirror, and underscore the subtext of what was going on downstage was very effective IMO. Oh, and that opening number! The tension in those three groups as they warily circled, then intersected, then separated again. Whew.

I am very curious to see this new revival. I want to see what new things MMD brings to the stage. I guess I'm just not ready to assume it will be revelatory for me since I've seen what I consider to be three very different, very inventive, and very strong productions in the past.

But I get the apples to apples comparison that skittles addresses. Broadway to Broadway, not Broadway to regional. Good point.

[SporkGoddess]

Posted: 11/21/09 at 2:40pm

I saw it last night and it was amazing, but the house was practically empty. Has it been more crowded at other performances? I'm a little worried,.

[orangeskittles]

Posted: 11/22/09 at 1:31am

Thanks, Jenna, that makes so much more sense! (And it's kind of reassuring!)

I was there Thursday night and the mezzanine was probably at least 80% full. I didn't go downstairs to look, but if the front mezz was full, the orchestra probably was as well.

[withoutlovewithoutU]

Posted: 11/22/09 at 10:38am

I went to the Matinee last Wednesday and the theater was pretty full.

I really loved this production, but I never saw the original so maybe I am a bit bias.

[Mr Roxy]

Posted: 11/22/09 at 10:41am

In a very weak season for revivals (so far), it looks like this will take the Tony home.

Updated On: 11/22/09 at 10:41 AM

[Kad]

Posted: 11/22/09 at 10:52am

You make such a bold prediction before the highly anticipated A Little Night Music and the critical darling La Cage open?

This season is actually pretty strong for revivals. Finian's and Ragtime are both very well-received.

[Smaxie]

Posted: 11/22/09 at 10:53am

With A Little Night Music, Promises, Promises and La Cage still to come, how can you be sure? And for that matter, Finian's Rainbow got better reviews and is doing more business.

[Mr Roxy]

Posted: 11/22/09 at 11:19am

I stand by my prediction

As far as the others,of the 3 mentioned by Smaxie I do not think Promises will get a nod. Of course, there is the dark horse BBB (hee hee hee).