just revive Ragtime already

Wasn’t the last revival a huge flop even though it was well received? It closed early. Not sure anyone is chomping at the bit for a revival unless you cast megastars.

Bettyboy72 said: "Wasn’t the last revival a huge flop even though it was well received? It closed early. Not sure anyone is chomping at the bit for a revival unless you cast megastars."

It was, but god it was so beautiful and well done.

The revival in 2009 was absolutely stunning. And dare I say better than the original. Yet it was deemed a major flop despite its rave reviews. Don't think a revival in the next few years would do any better.

It was too soon for the last revival. I don’t understand why any producer would revive an expensive show fewer than 10 years after its previous production. Other than Les Mis, I can’t think of any major revival in the last 20 years that was produced within 10 years of its previous run and made it to a one year run. Fifteen years seems like a sensible amount of time to wait.

THIS THIS THIS

The last revival was over 10 years ago at this point, and only lasted for about a month. And I feel like a revival could be much more successful now due to the (sad) relevance of so many of the themes in the show in the world today.

Call_me_jorge said: "I think Lincoln Center should produce revivals of Ragtime and Parade in rep."

I was about to say that I think it would make the most sense for a not-for-profit organization like Lincoln Center Theater or Roundabout Theatre Company to produce a revival.

Can we get Anne Hathaway to play Mother?

ashley0139 said: "Kad said: "I think it's just a cost-prohibitively large show to produce. It has three ensembles, essentially, that can't necessarily double up much. The 2009 revival was pared down, and still quite large by today's standards. It would need to have a big star to guarantee sales to make it feasible."

I saw a beautiful, thoughtfully directed production in Seattle that only had 12 cast members, but I don't think that would fly on Broadway."

Not necessarily. That would allow it to operate in a smaller theatre, with a more manageable budget. The original production was very massive, probably the reason it never made back its investment. The second production, while less 'huge' than the original, still had a large cast and was in a large theatre. Smaller could work...Think Sweeney Todd with Lupone or Nine revival or The Color Purple...of course, I have no idea if any of those returned their investment (was Nine a Roundabout production, though at the O'Neill?)

I saw the 12-person production in Seattle a few years ago as well, and it was nicely done, though paring it down only made it feel goofier than it already is. The score is written to be a barnburner from start to finish, including the solo numbers, none of which are what I would call intimate or understated - they only seem so in a full production because all the other numbers are so huge that they blow the roof off. Reducing it just made the big numbers small. It was a nice idea but it would have to be done exceptionally well to sell it, imho, because the demands of the epic scope are baked into the score.

Charley Kringas Inc said: "I saw the 12-person production in Seattle a few years ago as well, and it was nicely done, though paring it down only made it feel goofier than it already is. The score is written to be a barnburner from start to finish, including the solo numbers, none of which are what I would call intimate or understated - they only seem so in a full production because all the other numbers are so huge that they blow the roof off. Reducing it just made the big numbers small. It was a nice idea but it would have to be done exceptionally well to sell it, imho, because the demands of the epic scope are baked into the score."

I share this opinion. Certain shows have elements baked in which lend the show to a large cast in a large setting in a grand style. You can take any big show and pare it down for whatever reason, but that doesn’t mean it’s effective. Years ago I saw a production of Sunset Blvd. at a small theatre in the UK in which the stage was the size of a postage stamp, and Norma’s mansion was depicted with a spiral staircase and some banana plants. I burst out laughing during “With One Look” because all I could think of was my alcoholic aunt in Boca twirling around her condo at midnight.

The Distinctive Baritone said: "Just chiming in, having seen the original Broadway production but not the revival (I was also in one of the first regional productions back in the day).

Even twenty years ago the show felt problematic to me. I sometimes refer to it as White Guilt: The Musical because its authors are so earnest in their storytelling but end up letting pretty much every white person in the audience off the hook. "Oh, well I don't use the N-word, and I was sad when Coalhouse got shot, so I guess that means I'm not racist! I'm one of the good guys! Phew! What a relief!" It's the same problem with the original play version of To Kill a Mockingbird (which has thankfully gotten a rewrite via Aaron Sorkin). Ragtime is grandiosely self-congratulatory and self-important, and given the events of 2020, I feel like a more nuanced look at race relations - written by BIPOC - is more of what we need right now.

That said...great score."

I knew the music of the show, but this weekend was my first time watching it on stage and fully understand what you're saying. But... I do think the existing text does allow a lot of room for re-interpretation and it can be done by the right combination of performer & director.

There was supposed to be a production directed by the original Houdini, Jim Corti, out here in the Chicago area. That was planned for 2021 and they have yet to reschedule it. The only production of ragtime I’ve ever seen was an incredibly done production at Northwestern. If I recall correctly it was the 2018 Dolphin Show.