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<em>Ragtime</em>&nbsp;at Dallas Summer Musicals

Review: Ragtime | Dallas Summer Musicals | Music Hall at Fair Park


No Music

With a non-Equity tour of Ragtime that uses canned music over a live orchestra, Dallas Summer Musicals does a grave disservice to audiences.



published Friday, May 27, 2016
1 comment


Photo: Scott Suchman
Ragtime at Dallas Summer Musicals

 

Dallas — After the soaring, magical (and lengthy) run of Wicked, Dallas Summer Musicals brings audiences back to reality with the relevant Ragtime, presented at The Music Hall at Fair Park. Melding historical and fictional characters against the shifting backdrop of early 20th century America, the musical is based on the novel of the same title by E.L. Doctorow, with book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens.

First things first: This production is not an Actor's Equity Association tour, which more often than not results in inferior quality than we see in major tours (check the hashtag #askifitsequity on any social media platform). Secondly, audiences should be warned that there is not a live orchestra, and the music is from a "virtual orchestra." More on that later in the review.

Although Ragtime is titled after a syncopated music style that was quickly eclipsed by jazz, the genre takes a backseat to a thoroughly compelling narrative, with intricate characters and plenty of timeless philosophical bits to chew on. Three different lives intersect in New England: a wealthy Caucasian housewife simply named Mother (Kate Turner), the vibrant African-American musician Coalhouse (Chris Sams), and a sprightly Jewish immigrant from Latvia nicknamed Tateh (Matthew Curiano).

Photo: Scott Suchman
Ragtime at Dallas Summer Musicals

As their stories weave in and out of each other and those of historical characters, they all undergo transformations reflective of the changing times. Mother discovers independence and compassion, Coalhouse’s tragedy reveals a sinister side, and Tateh’s perseverance through his dismal reality finds him success and joy. It’s a swirling ride of situations and emotions, leaving one contemplating issues of racism, prejudice, justice, and moral ambiguity.

The large amount of musical numbers seamlessly fit within the spoken text, providing variety of rhythms, instrumentations, and emotions. Wealthy characters tend towards even rhythms and waltzes, while the African-American voices deliver most of the ragtime songs. Tateh’s tunes feature more Eastern-European instruments, and his “Buffalo Nickel Photoplay, Inc.” displays Russian-style rapid-fire rhythmic singing. To provide continuity, the title song repeats several times as a motif, either with variation or different lyrics. 

For patrons used to visually stunning spectaculars, this one might disappoint, as it stays pretty low-key, although others might not even notice since the individual characters and their stories command the stage. A set of two scaffolding staircases that slide and whirl around the stage, a door, a few chairs, and a piano frame are the predominate set pieces, and simple projections delineate mostly outdoor scenes. Costuming is rather non-descript, although designer Gail Baldoni makes excellent use of color for each group.

With a show having the title of a musical genre, though, the near-absence of major sections of choreography is a bit puzzling. What little is there comes from director Marcia Milgrom Dodge and associate director/choreographer Josh Walden, and much of it lacks the pizazz of the music it moves to.

The overall staging of a couple of numbers, though, proves quite entertaining. The short but cheesy vaudeville segment “Crime of the Century” livens up the show early on, but “What A Game!” conjured the most laughs. Opening with the hilariously ironic remark on how “civilized” baseball is (ahem, Texas Rangers), the section celebrates the crude masculinity of baseball culture and delivers precisely timed movements alongside toe-tapping rhythms.

A few solid performances stand out, as well. Sams’ vocal range and inflections draw the viewer into his joys and struggles, and his portrayal of Coalhouse’s descent into terrorism evokes conflicting sympathetic emotions. Leslie Jackson, though, brings down the house as his love interest Sarah. Clear, powerful vocals depict a woman falling in love, falling into sorrow, then finding hope. Curiano is the most animated, as he conveys an uplifting mood with his physical acting.

And although he didn’t have a speaking role, let’s not forget our local talent James Hayes, who earned the walk-on role of Young Coalhouse. Anthony Taylor also plays this role in other performances.

There are some terrific elements to this production, but they don’t make up aforementioned huge, glaring problems. First, Tuesday night’s sound issues were atrocious. Mic issues frequently pop up at the Music Hall on opening night (a chronic problem I had hoped would’ve resolved with the system upgrades), but the crackling, buzzing, and cutting out that happened went beyond the typical glitches. It was distractingly pervasive through the first 30 minutes of Act One, but the issue popping up throughout the nearly three-hour show (because of length and themes, it’s recommended for ages 10 and up).

Second, the live orchestra has been banished in favor of a virtual orchestra that combines with originally recorded music samples. So, basically, our friends in the pit have been replaced with robots. The giveaway on opening night was the sound rising or lowering suddenly to compensate for the mic issues with the actors. But even without that, the music is quieter and detract from the live experience. Much like recorded music for ballet, it leaves no room for flexibility with the performers.

When we asked a DSM representative about it, we received this statement:

The new tour of Ragtime features a superbly crafted 30-piece orchestration that recreates the entire breadth and scope of the original Broadway production. The tour travels with a musical delivery system engineered with state-of-the-art virtual instrument technology combined with original recorded musical samples to produce the entire spectrum demanded to support the emotional fabric of Ragtime.

That’s highly debatable. Plus, this information was not posted in the lobby or the program. And what a disservice to Flaherty's magnificent score. Eschewing the live orchestra might be acceptable in Mamma Mia! or lesser jukebox musicals, but not here.

Combine the fact of the non-Equity tour with no orchestra and sound issues, and one has to ask if Dallas audiences got their money’s worth. Tickets for this production should be lowered from DSM’s standard prices with Equity tours and live orchestras.

Ragtime’s variety of songs and thoughtful messages bring a nice change to the usual dazzling, jazz-handsy, escapist productions often seen in touring venues. It’s too bad we don’t get it in all its glory. Thanks For Reading




Comments:

ToscasKiss writes:
Monday, May 30 at 12:38AM

Saw this production Sunday night, May 29th. I happened to get there just in time for the show, so didn't have time to look at the program, or mosey down for a visit to the orchestra pit, as I generally like to do. I knew from reading about this revival on Broadway that it was quite scaled back from the original one, and even from the tour we had here in 1999. Still, I hadn't expected such a severely truncated cast, and that was disappointing. Actually, the entire thing was disappointing. Very quickly, I was trouble by the sound of (what I thought was) the orchestra. It sounded canned and thin. It sounded synth-y. There was no banjo, which was only one of a few different details that were severely missed. I rather dreaded going down to the pit at the intermission, wondering how paltry an array of musicians I might see down there. As shocking as it was, when I found the orchestra pit covered, it also kind of made sense, given the sound. Although, if you're going to eschew a real orchestra, in favor of a recording, why not include absolutely everything that should be there, some of which might not be affordable with a live orchestra?! (To give just one example, the banjo was sorely missed in the opening, title song). What we got was the worst of both worlds.

Also, sets, cast size, cast experience and expertise, choreography, and real musicians playing instruments were not the only things skimped on here; there were cuts to the script (at least one full scene, and bits of dialogue), and the entire story line lost a lot in the process. I have friends who saw the show, not knowing it at all before, and they were bewildered as to what was going on, not able to really follow the story (that came partly from the difficulty discerning lyrics and dialogue). I won't go much into individual performances, as I felt the direction was lacking overall, even sometimes simply with terrible blocking mistakes. The performance I saw and heard was just a disservice to the great show that RAGTIME can be, and was a terrible disappointment. And it was shocking to be served this by the Dallas Summer Musicals. All I could think was how nice it would be to listen to my recordings of RAGTIME, and how, maybe Lyric Stage in Irving would consider mounting a proper production of it, to salve the feelings of all of us who have seen this sad exercise at the Music Hall. Already the production Lyric did many years ago, even in the small Dupree Theatre, with limited orchestra, was far better than this, and with a full orchestra, cast, the space in Carpenter Hall, and the expertise of some their really excellent directors and choreographers to fill it, they might wash away the bitterness of this disappointment. If I believed in grave-rolling, I'd feel certain that Tom Hughes was doing some of that, with this latest DSM offering.


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With a non-Equity tour of Ragtime that uses canned music over a live orchestra, Dallas Summer Musicals does a grave disservice to audiences.
by Cheryl Callon

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