Ithaca, N.Y. — Hangar Theatre Company of Ithaca opened a buoyant and sweeping production of “Ragtime, The Musical,” for part of their 50th season, on Friday evening to a savvy, appreciative audience, replete with an extended standing ovation.
Adapted from E.L. Doctorow’s 1975 novel, “Ragtime,” by Terrance McNally (story or “book”), Stephen Flaherty (music), and Lynn Ahrens (lyrics), the show traces the lives of three families representing three distinct cultures: white, affluent and living in the suburbs of New York City, black and struggling on a much lower economic level, and immigrant, barely having a place to call home.
With an approximate timeline of 1902-1912, the story captures the many changes in the greater society, dramatically and emotionally illustrated through the microcosm of using three distinct families as they wend their way through the tumultuous times of turn-of-the-century America.
As hinted by its prescient title, much of the spirit and atmosphere of the show is fueled by the bouncy, syncopated rhythms expertly rendered by Megan Smythe (musical director) and Adam Dorfman, who are located on opposite sides, off stage, pounding out the driving rhythms on electric pianos. There is a constancy, whether barely audible or accompanying individual or group vocals, that mirrors the historical significances of the three stories gathered into one. This music, so popularized at the time by musicians like Scott Joplin is the the glue that holds the dramatic action together. It’s just always there.
Under the tight direction of Michael Lluberes, Hangar’s “Ragtime” is a visual and aural feast accentuated by spot-on acting, singing, and dancing.
Utilizing a relatively bare stage with plenty of room for large ensemble work, be it choral numbers or group choreography, the visuals here are in Matt Snellgrove’s accurate costuming, reflecting the various rungs of society. The one constant object that serves a variety of needs, from scene-to-scene, is a worn, upright piano.
In the principal roles representing the three ”types” are Erin Davie (mother, white suburban family), Bill English (father), Clyde Voce and Jaden Dominique (Black couple, Coalhouse Walker Jr. and Sarah), and Ben Cherry (Tateh, a Jewish immigrant).
Davie’s sweet voice communicates much of the maternal yearnings, present throughout, as juxtaposed to her husband’s adventurous spirit, in several of her exceptional vocals. Both Voce and Dominique perform excellent duos as the lovers who fall victim to the prevalent racial prejudices of the time. Voce is especially evocative in his treatment of “Make Them Hear You.”
If there’s an actor who might have been sent in from “Central Casting” for the role of Tateh, it’s Ben Cherry. His Jewish immigrant is a joy to watch as he evolves from the homeless, new arrival, to the successful artist/street vendor, to directing in the film industry. His character seems most representative of the show’s positive message that America offers such possibilities.
Despite the importance of the characters functioning as representatives of the variety of social classes, Coalhouse Walker emerges as the central force, attempting to find and fight his way, as an educated musician, through the torrents of racial prejudice, and the violence that emerges from it.
Historical figures and references abound in the show with the likes of Harry Houdini, entertainingly played by Hangar stalwart Greg Bostwick, as well as Richard N. Coleman’s Booker T. Washington. Audrey Rose Young is terrific in speeches by political activist Emma Goldman, with the look and accent indicative of the Russian emigrant.
For much of the levity and comic relief, Sydney Carmona’s Evelyn Nesbit, as the infamous artist’s model and entertainer of the time, does several effective numbers, singing and dancing in what might have been “scandalous” costuming for the time.
“Ragtime, The Musical” is not only non-stop entertainment, but perhaps, more important, it taps into what we already know and feel about America and its opportunities, and serves as a “History, 101” for those who might have forgotten.
Details
What: “Ragtime, The Musical”
Where: Hangar Theatre Company, Rt. 89, Ithaca
When: July 11-20, 2024
Length of Performance: Approximately 2 hours, 45 minutes, including a 15-minute
Intermission
Family Guide: Middle school-age could appreciate. Many historical references. Some
violence and gunshots
For Information and Tickets: 607.273.ARTS(2787) and hangartheatre.org