Powerful ‘Ragtime’ concludes season
Librettist Terrence McNally, lyricist Lynn Ahrens and composer Stephen Flaherty’s 1998 Tony Award-winning musical drama “Ragtime” concludes the Dayton Playhouse’s 2016-2017 season beginning Friday, May 5.
Adapted from E.L. Doctorow’s novel of the same name and set in New York, “Ragtime” examines three powerful stories rooted in family dynamics at the dawn of the 20th century. A sophisticated New Rochelle clan, an optimistic yet emotion- ally wounded African-Amer- ican couple, and a humble yet determined Jewish immigrant and his daugh- ter movingly merge against a sweeping backdrop of pivotal political and cultural change. Many historical figures such as Henry Ford, Harry Houdini, J.P. Morgan, Emma Goldman and Booker T. Washington also seamlessly accent what is regarded in the marvelous title tune as “an era exploding, a cen- tury spinning.”
“The show begins in 1902, but the same struggles the characters deal with are still felt in 2017 both positively and negatively,” said director Matthew Smith whose previous Playhouse directo- rial credits include “Wit” and “The Fantasticks.” “There are still immi grantscoming
IF YOU GO
“Ragtime” Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton May 5-21; 8 p.m. Fridays and Saturdays; 2 p.m. Sundays $18 for adults; $16 for seniors, students and military Visit www. daytonplayhouse.com to America hoping for a better life for themselves and their families. ‘Ragtime’ is a classic story with historical references, but it’s also modern and speaks to everyday life today.”
“Themes in the show such as justice, believing in your dreams and standing up for what is right particularly resonate for me,” echoed William “Kip” Moore who por- trays musician Coalhouse Walker, Jr. “As an advocate for human rights, I believe everyone has a chance to live, be and express themselves anyway they want. Isn’t this what this country is all about?”
Previously seen in the Playhouse’s productions of “Hair” and “Working,” Moore says he relates to the light and dark aspects of Coalhouse’s journey bol- stered by a heartwarming desire to dream big in the face of adversity.
“I grew up in a small town as an African-American male believing I can accomplish anything I w a nt e d,” he explained. “Coalhouse has thiss a me dream even in a time where dreams were often deferred due to racism. Like Coalhouse, I under- stand his strugg lesandhis willingness to fight for what he believes. I believe so many people in today’s society have lost their reason to fight and are now settling for less. For me, this story resonates (themes) of hope, love and a willingness to dream. As long as these exist this show will stand the test of time.”
The large, roughly 40-member cast includes principals Rachel Jensen as Mother, Jeff Sams as Father, Ron Maurer as Tateh, Tia Seay as Sarah, Garrett Young as Mother’s Younger Brother, Hayley Penchoff as Evelyn Nesbit, Becky Howard as Emma Goldman, and Frank- lin Johnson as Booker T. Washington. Smith’s artistic team includes choreographer Nabachwa Ssensalo, guest choreographer Michael Shepherd, set designer Chris Newman, costumer Theresa Kahle, lighting designer John Falkenbach, and musical director Ron Kindell overseeing a 17-piece orchestra.
Ahrens and Flaherty’s outstanding and stirring score includes “Journey On,” “Crime of the Century,” “Your Daddy’s Son,” “New Music,” “Wheels of a Dream,” “Our Children” and “Back to Before.”
“It is really impressive how the music resonates to today,” added Penchoff, memorable earlier this season as naughty Carla in Beavercreek Community Theatre’s production of “Nine.” “(Particularly in terms of ) discrimination and the overwhelming sensation of the times changing so quickly around you for better or worse depending on how you see it or are affected.”
Overall, Smith has made a conscious effort to p lace the music front and center befitting the score’s grandeur and the title’s significance.
“This show, (uniquely) named for a style of music, has lovely music both in orchestrations and vocals,” he said. “Typically the Playhouse will hide the orchestra behind a scrim, but I wanted to showcase the music. I wanted the orchestra to be a part of the storytelling so they will be alongside the actors and dancers. It’s great to bring new life to this show. It’sg oing to be nice to show audiences good thea tercan be done well at the community level.”