Ragtime

Ragtime
Lincoln Center Theater
at the Vivian Beaumont
May 9, 2026 

Photo courtesy of Lincoln Cetner Theater

The Broadway revival of Ragtime is truly brilliant.  Stephen Flaherty’s music vibrantly echoes throughout the Vivian Beaumont Theatre.  Lynn Ahrens’ lyrics and Terrance McNally’s book ring true in the telling of America at the turn of the twentieth century, and are strikingly relevant to the turmoil of our present day experiences.  The cast of forty-three works as one, creating genuine moments of emotion that viscerally engage every member of the audience.  The choreography, by Ellenore Scott, is pulsating and lively.  Lear DeBessonet’s direction is spot on perfection. 

It is the turn of the twentieth century in New York City.  Wealthy white business owners are building the economy, while their families live in secluded luxury in the northern suburbs.  Poor immigrants cross the ocean with dreams of America, only to live in tenement squalor and work for low wages.  Black musicians in Harlem create ragtime music, while their community knows the limits of their freedom.  When Mother (played by Caissie Levy) finds an abandoned Black baby in her garden, these worlds begin to collide.  With Father (played by Colin Donnell) away on an excursion, Mother does not know how to handle the situation.  The police find the baby’s mother, Sarah (played by Nichelle Lewis), hiding nearby.  Mother decides to take them both in and give them the care they need.  Meanwhile, Mother’s Younger Brother (played by Ben Levi Ross) is enamored by Evelyn Nesbit (played by understudy Marina Kondo).  He follows her everywhere, until one night when he wanders into a rally led by Emma Goldman (played by Shaina Taub), where his activist spirit is awakened.

Joshua Henry as Colehouse Walker, Jr.
Photo courtesy of Lincoln Center Theater

Coalhouse Walker, Jr. (played by Joshua Henry), a musician from Harlem, finds out where Sarah is,
and travels to the suburbs to persuade her to return to him.  Sarah refuses to see him.  Coalhouse is unaware that Sarah had his child.  He persists, and she finally agrees to marry him.  While driving back to Harlem, they are victims of a racist attack, and nothing is the same again. 

Joshua Henry and Nichelle Lewis are phenomenal as Coalhouse and Sarah.  Their connection is genuine and their voices are outstanding.  Another phenomenal performance is delivered by Caissie Levy as Mother.  She is warm and tender, with a solid resolve.  Her singing is extraordinary. 

Joshua Henry, Caissie Levy, & Brandon Uranowitz
Photo courtesy of Lincoln Center Theater

Brandon Uranowitz plays Tateh, a poor Jewish immigrant, who comes to America with his young daughter (played by Ellie May Sennett).  He sacrifices everything for her well being and safety.  In Act II, after he has achieved some success as a filmmaker, he meets Mother and her young son (played by Nick Barrington).  Their relationship turns the plot from tragedy to reclamation.  Ms. Levy and Mr. Uranowitz play their moments with quiet delight.  They are magical.

The revival of Ragtime is nominated for eleven Tony Awards this season, including Best Revival of a Musical.  This is a MUST SEE production.  It is playing at Lincoln Center’s Vivian Beaumont Theatre through August 2.  It has been extended a few times.  With new productions scheduled for next season it’s hard to predict if the show will be extended again, so get a ticket if you can. 

Domenick Danza

Carousel

Carousel

Imperial Theatre

July 5, 2018

Photo courtesy of Carousel

The Broadway revival of Rogers and Hammerstein’s Carousel is beautifully done.  The choreography is brilliant.  The set design by Santo Loquasto pulls you into a different time and place and blends the harsh realities in the story with the profound spiritual tale that raises the stakes.  The stellar cast creates genuine moments in the sweeping pace the show requires.  The ending is magic and true, emotional and mystical. 

Julie Jordan (played by Jessie Mueller) goes to the carousel with her best friend Carrie Pipperidge (played by Lindsay Mendez).  She catches the attentions of Billy Bigelow, the carousel barker (played by Joshua Henry).  They are magnetically drawn to one another.  Over time their relationship develops both tenderly and aggressively.  When Julie tells Billy she is going to have a baby, he realizes he needs to step up as a provider.  He joins his friend Jigger (played by Amar Ramasar) in a plan to rob a local businessman.  The robbery goes awry and, unable to face Julie, Billy kills himself.  He holds onto his aggressive demeanor in his meeting with The Starkeeper (played by John Douglas Thompson) at the pearly gates.  He is offered one visit to earth where he has a chance to redeem himself by helping his daughter, Louise (played by Brittany Pollack), who, at fifteen years old, is full of anger and resentment.

Jessie Mueller & Joshua Henry
Photo courtesy of Carousel

What stands out in this revival is how the first act is superbly structured.  Richard Rogers skillfully layers his music throughout the three scenes, while Oscar Hammerstein’s lyrics simply and succinctly tell the story in fluently sung dialogue.  Amid this musical synchronicity, Richard Rogers’ music unexpectedly swells into a theme that draws you deeper into the emotional life of the characters.  Joshua Henry, Jessie Mueller, and Lindsay Mendez exuberantly dive into these sections.  Their voices ring magnificently, creating truthful moments that draw you into the yearnings of their characters. 

Lindsay Mendez
Photo courtesy of Carousel

The ballet in the second act, where we meet Louise, is choreographer Justin Peck’s finest storytelling.  Louise’s character is clearly revealed through gesture, timing, and variations in her physical tension.  Brittany Pollack takes hold of all of these nuances and transports them into her scenes that follow the ballet. 

Photo courtesy of Carousel

Director Jack O’Brien focuses on the inner life of the characters in this production.  The story is in their personal conflicts.  His meticulous casting in these roles allows for the underlying desires of the characters to push the action of the play forward.  The ending makes sense on an emotional level, which is clear and intensely felt through Richard Rogers score.

Domenick Danza

Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed

Shuffle Along

or the Making of the Musical Sensation of 1921 and All that Followed

The Music Box

April 9, 2016

Photo courtesy of Shuffle Along

There is something amazing happening on the stage at the Music Box.  Audra MacDonald, Brian Stokes Mitchell, and Billy Porter lead a tremendously skilled cast and ensemble of twenty-six singers/dancers in a show that is powerful, entertaining, informative and thought provoking.  Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed tells the story as clearly as the title states.  It has the original music and lyrics by Eubie Blake and Noble Sissle, arrangements and orchestrations by Daryl Waters, and a new book by George C. Wolfe.  Savion Glover’s choreography is astounding!  He recreates the style and syncopation of the era with his own signature and flair.

The first act tells about how F.E. Miller (played by Brian Stokes Mitchell) and Aubrey Lyles (played by Billy Porter) teamed up with composer Eubie Blake (played by Brandon Victor Dixon) and lyricist Noble Sissle (played by Joshua Henry) to write a new musical for Broadway that challenged their creative voices in ways the social and racial norms would not allow.  Their show stars Lottie Gee (played by Audra MacDonald) and Gertrude Saunders, who is later replaced by Florence Mills (both roles played by Adrienne Warren).  Each scene chronicles their struggle and fortitude.  They never falter from moving toward achieving their goal, which is proudly illustrated in the Act I finale with the bold and vivacious production number from the original Shuffle Along. 

Photo courtesy of Shuffle Along

The second act follows the rise to fame and tragic downfall of this little known creative team.  Mr. Wolfe’s book gives a stylistic insight into the cultural limitations of the time and the historic significance of these artists’ unsung contribution.  His most well written and directed scenes are ones that elucidate the love affair between Eubie Blake and Lottie Gee.  Audra MacDonald and Brandon Victor Dixon have a phenomenal chemistry in these roles.  Their characters are multi-dimensional and full of heart, charm, and determination.  Ms. MacDonald has a number of strong moments that reveal the desperate need of her character after years of personal and professional struggle.  Billy Porter and Brian Stokes Mitchell also have a strong chemistry as the comic writing duo of Miller and Lyles.  Their timing is a reflection of their backstory and relationship.  Billy Porter delivers a heart wrenching, show stopping number in the second act. 

One of the ingenious points of Mr. Wolfe’s book is the way he has addresses actors playing numerous roles.  His casting in these instances is phenomenal.  Brooks Ashmanskas plays a number of these roles with dexterity, humor, and commitment.  Adrienne Warren has a powerful singing voice and versatile acting skills that is gallantly shown off in the roles she undertakes. 

The show has a few more weeks of previews before it opens on April 28.  There is still work to be done to tighten up the impact of the story, yet this creative team is sure to deliver.  It is an awe-inspiring effort, envisioned and led by Mr. Wolfe, which is sure to have an extraordinary pay off.  For more historic details about the original production of Shuffle Along, read the New York Times Magazine section article from March 27.  It will inspire you to buy a ticket. 

Photo courtesy of Shuffle Along

Domenick Danza