Ragtime - Washington, DC - Wow!! — Page 2

Well, I just got back from the final performance, and my sentiments match the title of this thread, so I'll just put my review here.

I had never seen this show before, but heard amazing things about this production. People were buzzing about it here in the DC area. It definitely lived up to all the hype.

Quentin Earl Darrington as Coalhouse Walker Jr. was truly amazing. His emotional range was unmatched in the cast.

Christiane Noll as Mother stole the show for me. She portrayed the conflict in her character perfectly, and has an amazing singing voice!

Jonathan Hammond was on for Tateh this performance, and I couldn't tell he was an understudy. Though his accent seemed to come and go occasionally, the emotion he put into the role was amazing.

Jennlee Shallow as Sarah also had an amazing emotional range, though her voice was a bit nasally for me.

Christopher Cox as The Little Boy was cute and funny, though he overacted a bit.

Leigh Ann Larkin as Evelyn Nesbit redeemed herself for me. I didn't care much for her Gypsy performance, but she fit this role perfectly.

Bobby Steggert as Mother's Younger Brother was amazing, especially during the bank scene at the end.

Ron Bohmer as Father was a little dull for me, though that might just be how the role was written.

Overall an absolutely wonderful production, which leaves me amazed that The Lion King (which I also saw at the Kennedy Center a few months ago) won the Tony...Crossing my fingers for the rumored transfer!

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I am kicking myself for not being able to see this/not realizing that it was closing last night. Is there any truth in a Broadway transfer, or is it just your wishful thinking?

Looking back at the final performance last night, the audience was probably the least responsive in terms of all the performances I attended (though they were very enthusiastic during the curtain call).

It was interesting to watch Ron Bohmer as Father as he only sang his lines during New Music, but didn't sing when everyone else did. He was also the only one not to sing during Til We Reach That Day. Not sure if that's a director's choice, or if it's in the script, but it works.

I sat in the orchesta 2x and the balcony 5. My best seat was O14; close enough to see their faces, yet far enough back to take in a complete stage picture.

It was truly a very special production and although I realize that all shows must close, this one will be missed by me. It will be interesting to see if the rumored Broadway transfer ever transpires.

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Updated On: 5/18/09 at 08:14 AM

Orangeskittles, LOL. I totally understand. I found myself focusing on the ensemble last night though didn't notice the person hung up on Coalhouse! By the way, where did you sit? I was front row center balcony. It was apparent that the woman next to me had never seen this show before as she was quite taken by surprise by Coalhouses demise at the end.

I saw Carrie Johnson (Mother understudy) on in one of the ensemble tracks last night, so I found myself watching someone new.

One thing that was disappointing is they didn't bring the curtain up for another curtain call. I thought last night they would have done that for the last performance.

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Updated On: 5/18/09 at 12:58 PM

I guess I should have asked ahead of time where you'd be sitting.

I didn't notice the black ensemble on the stairs in "Crime of the Century" until I sat on the other side of the Eisenhower. From the balcony you can't tell that there's actually a 4th tier to the set. It just looked like a staircase to nowhere. I finally saw the top tier when I sat in the orchestra.

I did notice that Coalhouse is the only one who doesn't change his costume. Can't figure out why that is - it just didn't make any sense.

I didn't notice Emma Goldman's lisp until Schmerg pointed it out and then I couldn't help but notice it!!

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I did notice the 4th tier. I sat on the far left side of the balcony once and saw it. It is odd- why include it if it serves no purpose?

Did you ever notice the stuffed deer head at the top of the bunting that comes down during Mr. President? That was really random.


Schmerg, where you with a group of women on the aisle? If so, I was sitting behind you. It sucks we were all so close and didn't know it. Next time I see a show, I'm wearing a nametag with my screen name.

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Does anyone know if this Ragtime production is definitely coming to Broadway? I haven't heard anything about a transfer, but I definitely could have missed it.

Sounds like a terrific production. I saw the Broadway mounting 10 years ago, and loved it. (I still think it should have won the Tony over LION KING but whatevs).

I did get to see Christiane Noll at the NJPAC on Saturday, May 16th. She and three other singers -- Robert Evan, Doug Labrecque and Capathia Jenkins -- presented songs from musicals that were either popular in Britain or imports from the U.S. that did well in the West End.

CN was marvelous. She handled the title song of THE PHANTOM OF THE OPERA quite effortlessly, and she was a delight to meet after the concert.

I wish I'd seen her in RAGTIME. I'd kill to hear her version of BACK TO BEFORE...

Here is Alex kafka's review on DC Theatre Scene:
ALEX KAFKA REVIEW OF RAGTIME ON DC THEATRE SCENE

I am hoping the show comes to NYC so you can all see what we loved at The Kennedy Center.
Joel's Theatre Schmooze Column on DC Theatre Scene

Updated On: 5/18/09 at 10:48 PM

See. Giant. Please. It's a marathon piece of theater at the moment, but it is definitely a fascinating work that is going places. Bloated, but utterly stunning.

And Christiane's "Back to Before" was divine!

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Updated On: 5/19/09 at 01:01 AM

"I am hoping the show comes to NYC so you can all see what we loved at The Kennedy Center."

hockenut2...so am I! I'm still bummed out that I could not catch in when in DC recently :[

Actr, I want to, but it's an hour and a half drive in average traffic. It will take a bit more planning and effort than just hopping on the Metro after work.

Frontrowcentre, I did consider that. When Ragtime opened, it received pretty mixed reviews and only since then has it developed a following. I wonder if, considering how musicals have (de)volved since 1998, people would who wrote it off then would appreciate it more when compared with the Legally Blonde, Shrek and Spiderman shows that have taken over Broadway since. They didn't know how good they had it then, heh.

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