Ragtime - Review

Alleyn's School, London

****

Music by Stephen Flaherty

Lyrics by Lynn Ahrens

Book by Terrence McNally

Directed by Hannah Chissick

Zaya Tserenbat and company

In a bold production that encompasses moments of musical theatre genius, the National Youth Music Theatre is staging Ragtime for three days only at London’s Alleyn's School. Flaherty and Ahrens' canvas of the United States at the turn of the 20th century is a cleverly constructed fusion of social icons (that includes the likes of Harry Houdini, Emma Goldman, Booker T Washington and Henry Ford) blended in with nameless or fictional protagonists, all of whose various stories depict the turbulence of the times of America’s famed melting pot.

Simply staged before a shredded American flag and with only suitcases for scenery to emphasise the immigrant make-up of the country’s population, Hannah Chissick allows her cast to expand the narrative based solely on their ability to sing, dance and act through song. The themes of the show are complex and its arc is broad and it is a testament to this young company that they tackle the ugliness of the tale’s racism alongside the beauty of some of its characters’ tenderness with perceptive and measured depth.

At 23, Lucy Carter who plays Mother is an NYMT veteran and her years of experience are clearly evident. Carter’s stage presence is electrifying, not just in her moments of profound compassion, but also in the steel she shows in challenging her husband’s innate racism. Carter is also gifted the show’s solo high-spot with the second act’s Back To Before, smashing it out of the park and bringing power, passion and profound emotion to the song. 

Zolani Dube plays Coalhouse Walker Jr, an African American ragtime musician whose journey drives the show’s narrative. Dube brings commitment to the role, together with masses of potential. Opposite Dube is Sarah, the woman he loves, played by Katlo Masole. In a role that is largely understated, Masole offers up a turn of assured excellence and vocal beauty as she plays her tragic character.

There are other diamonds in this cast. 12yo Laurie Jones as the Little Boy is confident and compelling, with pinpoint timing too – a rare craft to have mastered so young. Equally Sam Sayan’s Tateh and Zaya Tserenbat’s Evelyn Nesbit are very strong in their supporting roles. Tserenbat in particular, whose take on The Crime Of The Century is a joy to behold.

David Randall conducts his 22 piece orchestra with aplomb, ensuring that Stephen Flaherty’s score, itself a blend of so many different musical genres is delivered delightfully.

The NYMT has a knack of unearthing future West End stars as the list of its illustrious alumni proves. But more than just that teaching young people how to star, above all the NYMT allows its companies to discover the sheer beauty of acting together, through song. Ragtime’s first act closes with Till We Reach That Day, an absolute banger of a number that is written for a show's entire cast to perform. To see and hear this fabulous company singing as one, with power, pathos and passion is spine-tingling and stunning.

Runs until 27th August

Photo credit: Konrad Bartelski

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Ragtime - Review

Charing Cross Theatre, London


*****


Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Book by Terrence McNally
Directed by Thom Southerland

The Company of Ragtime

Yet again director Thom Southerland has assembled a virtually flawless cast and crew in his revival of Ragtime, a show that is probably Flaherty and Ahrens' finest collaboration. Terrence McNally's book, itself drawn from E.L. Doctorow's opus, casts a panoramic gaze over the USA at the turn of the 20th century and the communities that formed the melting pot of modern America.

Ragtime's narrative fills a vast canvas, though neatly focuses on three protagonists - Mother who is a fine and magnificently dignified WASP, Coalhouse Walker an African American whose gift for the piano transports him through different layers of the show's Eastern seaboard setting and Tateh, a Jewish immigrant escaping Europe's pogroms for the New World. Ostensibly their three lives are disparate and disconnected but it is the sequence of events and the interplay of the major figures of the time including Henry Ford, Emma Goldman and Harry Houdini that through imaginative (and to be fair, arguably improbable) chance and coincidence lead the lives of all to become interwoven. 

The lead performances are sensational. Ako Mitchell's Coalhouse exerts a captivating presence from the get go. Powerfully voiced and with a glint in his eye, Mitchell is as inspiring as he is moving. Gary Tushaw deftly avoids cliché as he nails the charming chutzpah of Tateh, determined to advance himself and make a life for himself and his young daughter.

Anita Louise Combe simply redefines the role of Mother. In an evening of all round excellence, two of the most stunning musical moments involve Combe - her duet with Tushaw, Our Children, is exquisite, while her take on the show's eleven o'clock number Back To Before is just spine-tingling. West End star Earl Carpenter playing Father, her husband, brings an equally mellifluous magic to his role. 

Southerland's vision remains masterful. In an actor-musician production, he creates space even amongst the full company numbers. Tom Rogers and Toots Butcher have created a set that cleverly wraps around into the old music hall's balconies, allowing a staging that is well complemented by Howard Hudson's carefully plotted lighting and Ewan Jones' ingenious choreography. Jones' routines evoke both style and period and are peppered with explosive moments of classic Vaudeville dance. 

Credit too to Mark Aspinall's orchestrations and Jordan Li-Smith's unbelievable musical direction. At times being wheeled around the stage, Li-Smith manages to play the two onstage upright pianos - which in themselves form perhaps the most imaginative car ever seen on the London stage – ingeniously, as throughout he maintains a perfectly nuanced grip on the melodies being played by his cast. Actor-muso shows are a challenge to pull off well and Li-Smith just makes it look so easy.

As the Charing Cross' Artistic Director, Ragtime marks Southerland's second stint at the helm and it is evident that his continued and longstanding creative partnership with co-producer Danielle Tarento continues to flourish. Truly, musical theatre does not get better than this.

Runs until 10th December

Photo credit: Annabel Vere & Scott Rylander