Photos by Andy Nguyen
RAGTIME
Based on the novel by: E.L. Doctorow
Book by: Terrance McNally
Music by: Stephan Flaherty
Lyrics by: Lynn Aherns
Directed and Choreographed by: Joel Ferrell
Produced by: Dallas Theatre Center
In partnership with SMU Meadows School of the Arts and the Sexton Institute for Musical Theater.
Audience Rating: PG-13
Running Time: Two hours with one fifteen minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable
Audio/Visuals To Prepare For: Mirror ball-type effects on the stage, loud sudden explosive noise of gun fire mixed with flashing lights
Reviewed by Dan Rogers
Ragtime is more topical today than the intended period of 1906. The clash of cultures and the plight of immigrants is scarily relevant now.
Now playing through April 19th at the Dallas Theatre Center in the Dee and Charles Wyly Theatre in Dallas, Ragtime is a treat for the eyes and ears. The melodic music, the powerful songs, the charismatic characters on stage, the statecraft of set pieces, and the clever use of lighting effects, raises Ragtime from 1906 to the 2026 challenges we face today in this turbulent world.
Prepare yourself for the intimidating Coalhouse Walker Jr. as portrayed by Akron Watson. Angry, proud, brave, and determined - Watson’s Coalhouse is a man to admire, yet fear. His voice is magnificent. He holds notes that make the audience gasp as they are trying to breathe for him. The magical pairing of Coalhouse Walker Jr. and his life mate Sarah, with Bri Woods holding her own musically, lifts the emotion and magic of a duet to bring audiences to their feet. Equally impressive is Tiffany Solano as Mother. She has a magnetic voice that attracts cheers and tears. The ensemble in Ragtime as a whole, with a musical orchestra of piano, keyboard, brass, violin, and percussion, reinforces the definite acoustical gift of the Wyly by clearly harmonizing and emphasizing the mood of the early 1900’s. The language in this play, at times, might make today’s audience squirm; but the squirming is necessary. Ragtime is eerily current today.
The witty, sincere, observant Tateh, with Blake Hackler pulls at our heart strings and cleverly evolves into a gifted entrepreneur. His personification of a loving troubled father holds the audience on the verge of tears. What a voice.
The Wyly stage thrusts out into the audience seated three quarters around the stage. Cast members enter and exit through the front center audience facing the stage. The multi-levels of the set draws the eye immediately to the action on the stage. Creative lighting design by Dean Coburn and Breanna Neal enhances the mood and the circumstances of the plot. Whether it is a risqué Atlantic City montage with an aging Evelyn Nesbit - in the voice and scantily clad figure of Makena Brown or the escapist appeal of charismatic and energetic Harry Houdini with Pierre Tannous as the mystic - the music rises to the occasion flawlessly and with enthusiasm. There is the frustration and angst from Father in the presence of Alex Organ and the dignity and control of Booker T. Washington with an imposing K’Von Brown, pure opera is in his lungs - Ragtime mesmerizes and entertains. When Young Colehouse runs on stage in the cuteness of Lexington Batholomew/Ellington Wilson the audience cheers! This show is a standing ovation in the works.
Look for the idealist Younger Brother as played defiantly by Andrew Biseno and the always curious Little Boy from Noah Brown/Ryan Duck - the baseball game is a humorous, coarse, touching, and educational experience, spit takes included.
Stage pictures and efficient movement of set pieces appear quite effortlessly. Whoever at the Dallas Theatre Center made the decision to go into partnership with SMU Meadows School of the Arts and the Sexton Institute for Musical Theatre was a ‘professor’ (that is ragtime slang for a genius). A full fifteen members of the cast and crew are affiliated with SMU and the Sexton Institute. As Executive Director of the Dallas Theatre Center Kevin Moriarty says in his program notes of welcome, “As you’ll see onstage, the energy and talent of these students and faculty, working alongside DTC’s professional artists, remind us that the future of American theatre is already taking shape here in Dallas.”
Director and Choreographer Joel Ferrell has a magical, entertaining, fascinating, riveting, moving, syncopated, melodic gem in Ragtime.
It is just what the Doctor ordered.
DR
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