On the Wheels of a Dream

Ragtime – Music Theater Works

Music Theater Works is on a roll with its latest offering, a gorgeous production, riding on the wheels of a dream cast, orchestra and artistic team. This theatre company has proven, in its first three shows, that under the guidance of newly appointed Artistic Director Kyle A. Dougan, there’s nothing this professional group can’t accomplish.    

Stephen Flaherty and Lynn Ahrens’ epic musical, with a book by Terrence McNally, is based upon the sweeping, historical 1975 fiction by E. L. Doctorow. The novel depicts the changes and challenges that America experienced around the turn of the century, just prior to WWI. It’s set against the rhythm of a newly evolving style of music called Ragtime. Doctorow created a cast of fictional characters drawn from three different ethnic groups, all of whom interact with many real-life historical figures of the era. The result is a musical homage to the pursuit of the American Dream that paints a colorful portrait of the nation on the brink of transition.

Coalhouse Walker, Jr., a ragtime pianist from Harlem represents the African Americans of Harlem; Mother, the matriarch of an upper class suburban family, exemplifies the more affluent Caucasian group; and Tateh, a Jewish widower from Latvia, typifies the masses of destitute European immigrants pouring through Ellis Island in search of a better life in America. Their stories begin in isolation from each other, but eventually they overlap and intersect until, by the final curtain, the three groups have melded into one. These imaginary characters and their families exist along side such famous historical figures as Harry Houdini, Evelyn Nesbit, Booker T. Washington, Henry Ford, Emma Goldman, J.P. Morgan and many other celebrities from 1906. Their collective journey toward change and enlightenment is what electrifies this much-accoladed musical (the 1998 Tony winner for Best Book, Score, Orchestrations and Supporting Actress), making it a popular, but challenging, choice for theatre companies everywhere.

Stacey Flaster accepted the challenge to stage this daunting musical that examines such universal themes as prejudice, segregation, class distinction, denouncing the status quo and seeking a better life. Be sure to take a few minutes to read Ms Flaster’s thoughtful essay in your program, before the show begins. Choreographer Ariel Etana Triunfo has choreographed the variety of musical numbers, ranging from the titular ragtime, to cakewalks, marches and gospel, with both period creativity and a contemporary consciousness. Her work especially stands out in the “Prologue” opening scene, in the “Atlantic City” filming sequence and, most especially, during her human automaton “Henry Ford” assembly line number. 

Sotirios Livaditis’ scenic design fills the enormous North Shore stage, but somehow feels too simple. While allowing room for the large cast to move about his design seems too sparse for most of the scenes. On a positive note, without a lot of elaborate scenery he focuses all our attention on the talents of the cast and the brilliance of the story. The show is an artistic challenge, with its multiple locales; but  the cast is able to transition smoothly from a North Pole bound ship to a New Rochelle mansion, from a Harlem speakeasy to the Morgan Library. The problem is that most of the time we feel like we’re stuck in a large drawing room, adorned with framed photos and paintings. His two movable staircases do provide a variety of elevations for showcasing Ms Flaster’s talented cast, while allowing room for the musical’s most iconic scenic element, Coalhouse’s beautiful Model T Ford. 

Andrew Meyers’ lighting is fine and enhances the musical’s requisite mood and tonal changes. Rachel Spyniewski has assembled a vast array of period costumes that add another element of authenticity to this carefully detailed production. And while the original Broadway show boasted a larger orchestra, Roger L. Bingaman’s slightly abbreviated 18-piece accompaniment fills the theatre and sounds, as always, full and lush.

This excellent cast is led by many outstanding performances. Curtis Bannister’s multi-layered Coalhouse Walker, Jr. is really the star of this production. Always playing this African-American pianist as a gentleman, even when pushed to the brink, this talented actor tells the story of a man that would make even the most hardened heart crack with sorrow. His rich, powerful vocalization of “Wheels of a Dream,” (that never fails to bring tears to my eyes) “Sarah Brown Eyes” and possibly the finest song of reformation ever written for a show, “Make Them Hear You,” are alone worth the price of admission. And this actor is matched with the exquisite Lydia Burke as Sarah. Playing a  character with only a few lines but a huge stage presence, Ms Burke brings extraordinary love, tenderness and empathy to the role, while meeting the show’s challenging legit vocal demands. Her heartbreaking “Your Daddy’s Son” is a musical moment that will move even the hardest of hearts. Together these two fine actor/singers are everything. 

A familiar face to Music Theater Works’ more devoted fans, lovely Kelly Britt is simply magnificent as Mother. From her upright posture, her subtle expressions, to the care she takes with every movement and the fierce maternal devotion she projects, Kelly is perfection as this upper middle class woman on the brink of self-discovery. And when she sings, the heavens open up and the angels weep. Her clear diction and thoughtful phrasing drive songs like “Goodbye My Love/Journey On,” the beautifully touching “Our Children” and her eloquent eleventh hour anthem to change, “Back to Before.”

A standout from Music Theater Works’ recent production of “Mamma Mia!” Dan Gold is luminary here as the poor Jewish immigrant widower, Tateh. He soars in each of his musical numbers, brings tears to our eyes as a father desperately trying to shelter, clothe, feed and protect his young daughter (played with emotional perfection by Omi Lichtenstein), and then makes us laugh when he reinvents himself in Act II as the clever director of silent films. Mr. Gold has a strong, nuanced voice with the ability to touch our soul and warm our hearts. 

Other standouts include Brian Hupp’s staunch portrayal of Father; Ryan Dooley’s handsome, spirited, modern-thinking Younger Brother; Michelle Owens as the stalwart, no-nonsense Russian immigrant political activist, Emma Goldman; Korey White as a beautifully acted and well-sung Booker T. Washington; Laura Sportiello’s delightfully jaded Vaudeville entertainer, Evelyn Nesbit; Alexander Christ’s vigorously vocalized Harry Houdini; and Jumon Tyrel Perry as a powerful soloist in the finale of Act I, simply called Sarah’s Friend. And every member of the ensemble works beautifully together to make this show hum, like a well-oiled component of Henry Ford’s automobile production.

With “Ragtime,” Music Theater Works, under the creative guidance of Kyle A. Dougan, has reached a prominence not usually achieved by a new Artistic Director this early in his career. It’s a crowning achievement for which the entire cast and artistic team, under Stacey Flaster’s fine direction, can be very proud. One can only imagine where this terrific company will go from here because, with this excellent production, they’re riding On the Wheels of a Dream. 

Highly Recommended

Reviewed by Colin Douglas

Presented October 28-November 7 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL.

Tickets are available at the theater box office, by calling 847.673.6300 or by going to www.MusicTheaterWorks.com/Ragtime.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.