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Post by dgjbear on Oct 4, 2016 12:32:12 GMT
The original Broadway production (1998) was an amazing thing to behold. A 50 strong cast - including the two finest soprano voices on Broadway, Marin Mazzie and Audra Macdonald - a 29 piece orchestra, monumental set, a strong book by Terence McNally that found a way to make E.L. Doctorow's novel - which had failed as a movie - soar as musical, and a score by Ahrens and Flaherty that must be one of the greatest ever written - not a weak song in the show. It remains, for me, one of the pinnacles of musical theatre.
Agree Mallardo. I had the CD first and still think it one of the 10 best musical theatre scores. Then saw it on Broadway shortly after it opened and the sheer scale and quality left me breathless. I am seeing this version next week and have never been to this theatre before. I also have never fancies the actor/muso thing - a bit nervous but hope all is going well in rehearsal. |
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Post by couldileaveyou on Oct 4, 2016 15:19:19 GMT
Oh, I just read that Ako Mitchell is Coalhouse, had no idea he could sing like that! well, hopefully. And it's nice to see Jennifer Saayeng, she'll probably be the sexiest Sarah ever. Also loved Velerie Cutko in Piaf, I'm glad she's playing my bestie Emma Goldman - I hope they won't sing the cut version of "he wanted to say!!! Sorry, I'm late to the party for this  |
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Post by ali973 on Oct 4, 2016 20:40:59 GMT
I didn't care for his singing at all. He pretty much shouted it.
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Post by crabtree on Oct 4, 2016 20:49:39 GMT
and I agree with Mallardo about the Broadway production. It was the biggest thing I'd seen on stage outside of an opera house, and had enough cast members to make that brilliant complex opening work, and yes what a score. But I felt there was a real journey in those two and a half hours, and such strong visuals, right from the opening stereoscopic viewer. I loved every second, every note and every cast members. I took someone who hates musicals and he was awe struck, never imagining musicals could have such scope. I love the stories of the smaller characters like Houdini and Evelyn on the swing, and as I remember the Houdini stunts were impressive.
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Post by couldileaveyou on Oct 8, 2016 9:36:47 GMT
TodayTix sells rush tickets for 20£... does anybody know where they are allocated? I hope it's not the horrible front row, the stage is too high
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Post by firefingers on Oct 8, 2016 14:36:39 GMT
TodayTix sells rush tickets for 20£... does anybody know where they are allocated? I hope it's not the horrible front row, the stage is too high I suspect they will be odds and ends throughout the auditorium as opposed to a set batch. Anyone off to first preview this evening? I'm apprehensive about this production possibly being a hot mess (actor muso of that score doesn't sound do-able to me) but hope to be proved wrong. |
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Post by Deleted on Oct 8, 2016 17:20:53 GMT
Anyone off to first preview this evening? I'm apprehensive about this production possibly being a hot mess (actor muso of that score doesn't sound do-able to me) but hope to be proved wrong. Thom Southerland is directing this, so it should be good. |
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Post by couldileaveyou on Oct 10, 2016 9:03:06 GMT
I checked the position of rush seats and they're in row D... sounds nice!
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Post by couldileaveyou on Oct 12, 2016 17:29:38 GMT
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Post by boybooshka on Oct 12, 2016 18:08:11 GMT
Watched the matinee of this today, totally new to the show. For the first forty five minutes or so I felt myself falling in love with it, but then that levelled out to liking it a lot. Excellent production, really liked the cast and the staging was atmospheric and sometimes quite witty. I felt like the actor/ musician thing worked really well but can imagine that beautiful score would sound amazing with a bigger band.
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Post by Deleted on Oct 12, 2016 21:45:20 GMT
Oooo wow, the set looks really cool! I always marvel at how this tiny theatre does some great sets! Looks simple yet effective! As for the show itself, I have never heard or seen anything to do with it but after having the same history with Show Boat and walking away amazed I may give this one a go.  |
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Post by Deleted on Oct 12, 2016 22:32:30 GMT
It looks pretty awesome for such a small theatre |
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Post by Deleted on Oct 13, 2016 19:30:26 GMT
The 2 tiered set looks like the set for Titanic, but in wood!
I'm going Saturday night and looking forward to seeing how well the actor/muso thing works.
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1,057 posts
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Post by David J on Oct 15, 2016 18:08:17 GMT
I really enjoyed this
I don't think Earl Carpenter is wasted here. This isn't a star vehicle but an ensemble musical at heart and nearly every performer gave a first class performance
I too have reservations about the actor/musician concept but it works. Like the last Fiddler on the Roof tour there's a sense of community and togetherness at times as the actors sing and play the music. This is Ragtime after all.
It would be a pleasure to hear the music with a full orchestra but it is still astounding to listen to here
The musical keeps moving along as we jumps between all these different characters. Something I'd usually have issues with but apart from a few plot details going over my head it all worked
It has everything. Light hearted, fun, perhaps a bit saccharine at times, but sincere and it never holds back with the bleaker moments.
The only complaint I'd have is that the first act feels long. Just when it feels like it's ready for an interval it keeps on going. Then again I might not have minded if Charing Cross Theatre installs an air conditioning system
You'd think the theatre is on fire with all the smoke emanating from the theatre. It's as if the smoke machines are on overload. That underpass is going to be very misty for the next couple of weeks
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Post by couldileaveyou on Oct 15, 2016 18:11:27 GMT
I went to see the matinee and here there are some thoughts.
I'm not a fan of the actor-musician concept (there is nothing I hate more than Doyle's Sweeney Todd), but I think it works nicely here. Yes, I miss the huge, lush orchestration (and orchestra!) of the OBC, but I didn't mind it too much while I was watching the show.
Thom Southerland's direction is pretty good, even if every now and then he tends to "over-stage" some scenes, like Back to Before (it's staged quite similarly to how he staged "Another Winter is a Summer Town" in Grey Gardens). Love the set, it's simple and immaginative.
Anita Louise Combe is a terrific Mother and brings down the house with her stunning "Back to Before". Gary Tushaw's a very warm Tateh and, even if he reads a bit too young when you compare him to ALC's Mother, he delivers a beautiful performance. Jenniver Saayeng (Sarah) was a true revelation for me, she has probably the best voice in the cast, it's a shame she doesn't have much to sing! Seyi Omooba has an incredible voice as well, she sings the hell out of "Till We Reach That Day".
Earl Carpenter, Nolan Frederick and Jonathan Stewart are all good. Ako Mitchell is not the finest singer in the world and he surely isn't Brian Stokes Mitchell's heir, but his Coalhouse is still serviceable. Joanna Hickman could have more fun (and sing the bloody notes, wheeee!) as Evelyn Nesbitt. Valerie Cutko's Emma Goldman was an embarassment - at first I was mad when I read they cut "He Wanted To Say", but then I realized why they did.
Very receptive audience, huge applause at the end of act one, applause when the actors came back for act two and standing ovation at the end. Personally, I liked it A LOT. It's a beautiful, touching and effective production... I can't wait to see it again!
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Post by Deleted on Oct 15, 2016 22:43:47 GMT
Random thoughts.... I cant decide if it was good, or just ok. Act 1 definitely works better than act 2. The actor musician thing didnt really add a huge amount to it, except crowd the stage too much during smaller moments in the show and there's a glockenspiel to the right of the stage that is totally pointless and it made me laugh anytime someone used it to play all of 3 notes that you cant hear.
Anita Louise Combe is definitely the standout here and as mentioned her Back To Before was the highlight of the show. Ako Mitchell is miscast, hes not stong enough in any area and his costume is all wrong. The Wheels of a Dream failed to make the impact it should. I liked the actress playing Evelyn Mitchell alot. Unfortunately Emma Goldman looks like a man is playing her...
People around me leapt to their feet at the end. I wont be going back again, but i'm glad to see Death Takes A Holiday is now on in the new year.
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Post by lonlad on Oct 15, 2016 23:11:50 GMT
Saw it tonight and thought it was largely wonderful --- Valerie Cutko (referenced in the above post: she plays Emma Goldman) does have a sort of man-in-drag look but she's always had that vibe and it certainly is distinctive. The acting in the show is very strong, especially Tushaw, who is unbelievably touching, and the Evelyn Nesbit, who is quietly brilliant. Earl Carpenter nothing special but the production around him is, and I welcomed a change from the Garth Drabinsky-inspired Broadway overkill.
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Post by dgjbear on Oct 17, 2016 11:36:16 GMT
I thought the person playing Emma Goldman was Trans!
Went on Saturday with my sister who's never seen it but loves the OBC recording (I saw it in NYC when it first opened). We were in the front row which is hard work as the stage is quite high. Was a bit worried about the actor/muso thing but thought it worked well here. Thought the direction was terrific - though the realisation of the car didn't really work. The cast was great - though thought the guy playing Coalhouse was a better actor than singer - and the role really demands a belter. Incredible how they did it in that tiny space and hats off to all. At the end its one of the few times recently where ive been in a theatre and everyone was standing and applauding.
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Post by kenneth on Oct 17, 2016 23:07:47 GMT
Oooo wow, the set looks really cool! I always marvel at how this tiny theatre does some great sets! Because they barely pay the actors |
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Post by Deleted on Oct 18, 2016 7:59:37 GMT
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Post by musicalfloozie on Oct 18, 2016 8:56:24 GMT
Ended up getting a 3 day London trip next week so have just booked tickets for this, really hoping I enjoy as much as I did Titanic. Only £32.50 so not a complete loss if I don't get blown away! Now to plan a few other bits whilst other half has to work!
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Post by Deleted on Oct 18, 2016 11:02:05 GMT
Since when has Ragtime been neglected or problematic??
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Post by viserys on Oct 18, 2016 11:50:41 GMT
Well thanks for that. I was close to tearing my ticket up as I just can't get into the recording/story/anything. Based on the comments here and even Daddy Shenton's review, I guess I'll go after all |
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Post by barelyathletic on Oct 18, 2016 14:06:37 GMT
Was at press night last night - oh, you forget how lovely a "professional audience" is, so quiet and attentive! Anyway... I did a total 180 degree turn on my opinion of the show itself. I actively hated the 2012 Regent's Park version and decried the entire thing as pointless, a story not even worth telling. This, I was on my feet at the end and posted a "five star rave" on my site. I finally "got" what mallardo talks about. It's the epic social history of 1900s American people, by the people. This BYOB (Bring your own Bassoon) version really works as the musicians aid the "let's do it" American attitude. Some amazing performances, too. Really, do not miss this. Very excited about seeing this now on the 19. I'm hearing and reading so many positive responses to this production. Couldn't bear to see it ruined again. I thought the terrible Regent's Park production had killed Ragtime off, so thank you Thom Southerland, for giving the show the respect and, it seems , the production it deserves. |
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Post by mallardo on Oct 18, 2016 14:59:18 GMT
Yes, it's heartening to see the greatness of this show being acknowledged - especially now. In this awful time of rampant xenophobia and racism (in the US especially) it's exactly what we need to see.
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