‘Ragtime’

“When it comes to musicals,” Stephen Lloyd said, “we at HART tend to be either very bold or very foolish, depending on how you want to look at it.”

Lloyd was referring to the Haywood Arts Regional Theater’s lavish production of Terrence McNally’s “Ragtime.” With a pit orchestra, a musical director, a cast of 50, superb costumes and props, and a chorus that has one big number after the other in the show, “Ragtime” was clearly an enormous challenge for everyone involved in this gargantuan production.

McNally, along with co-authors Stephen Flaherty and Lynn Ahrens, based “Ragtime” on the novel by E.L. Doctorow. The sprawling story, set in New York City in first decade of the 20th century, follows the fortunes of a wealthy family, an immigrant father and daughter, and a black ragtime musician named Coalhouse Walker Jr. (Kristofer S. Geddie). These characters rub elbows with many celebrities of that day: J.P. Morgan (Frank Costley), Harry Houdini (Jonathan Minick), Emma Goldman (Sandra Beckman), Evelyn Nesbit (Shanda Jacobs), Harry Thaw (Nick Bailey), Henry Ford (Ian Olson), and Admiral Perry (Steve Brady).

Two major themes develop as “Ragtime” progresses. First, there is the theme of racial hatred, chiefly embodied in the bitter struggle by Coalhouse Walker in his quest for justice against a bigoted fire chief; Teteh (Mark Jones), the immigrant father and the director of the early “Our Gang” films, and Mother (Ann Rhymer) give us solution to this hatred by envisioning a racial harmony born in the innocence of children playing together (MacKensie Klavik and Elizabeth Walt alternating as “Little Girl,” Jeremy Minick as “Little Boy).

“Ragtime” also has to do with time itself, with the innocence and the struggles of characters who are soon to be swept up into the clamor and chaos of the 20th century. “Warn the Duke!” the Little Boy, Edgar, keeps shouting to Houdini; Edgar has a gift of foreseeing parts of the future and is here imploring Houdini to warn Archduke Ferdinand, whose assassination at Sarajevo in 1914 would lead to the First World War and so to a century drenched in blood and revolution. With the inclusion of historical figures in “Ragtime” as well as references to events like the sinking of the Titanic, McNally shows us how we are all caught up in the web of history and how little we comprehend the events through which we are living.

With a cast this big and a performance so magnificent, it is possible to praise only a few of the cast members. Steven Lloyd deserves recognition not only for having the guts to stage a production this size, but for pulling it off. Becky Harper and the rest of the stage crew surely had their hands full with the large cast and the wonderful props. James Strother Stingley does a fine job as Father and doesn’t allow his character to become a caricature of bigotry or of conservatism. Kristofer Geddie, a special guest artist, brings a palpable dynamism to Coalhouse. Ann Rhymer, Margaret Evans as Coalhouse’s lover Sarah, Shanda Jacobs, Mark Jones, and Ian Olson all gave particularly fine vocal performances.

The greatest praise for vocal performances, however, must surely go to the ensemble. This chorus belted out songs so wonderfully that they seemed to fill even the hearts of those watching them. In numbers like “Ragtime,“ “Crime of the Century,” “Getting Ready Rag,” and “Henry Ford,“ the chorus electrified the stage with its energy. Aiding them in this musical extravaganza was the pit orchestra. One of the grand and exciting attractions of musical theater is the orchestra, with the live, chest-piercing music acting like another performer on stage. Using all her enthusiasm and knowledge, musical director Melodie Galloway has brought forth splendid performances from these musicians and singers.

Completing the professional feel to this play were the props and artwork done for this play. From the “ragtime” paintings hanging in the theater lobby to the patriotic bunting hung from the walls of the theater itself, from the misty, luminescent curtains depicting New York City to Sam Woody’s antique Ford, the care given to the play’s scenery by Jim Thomson, Mark Mounce, and Tom Dewees only further sweetened this production, like the icing on a rich gourmet cake.

Now for three warnings about Ragtime. First, it does contain language and situations that might earn it a PG or PG-13 rating at the movies. Second, come to this play excited and ready to be engaged. The pacing is fast, and the stories somewhat complex, so keep your wits about you while enjoying this play. Finally, if you miss this play, you’ll be singing the blues instead of humming ragtime. The first weekend was sold out, so call now for your tickets.

Ragtime runs through Sunday, July 24. Call the HART box office at 828.456.6322 for times, ticket prices, and reservations.

— Jeff Minick