Review: RAGTIME at Fulton Theatre

Fulton’s season opener of Ragtime is more relevant now than ever. The show seamlessly blends timely social issues and soaring melodies into a story of America that is heavy yet hopeful.  Themes of racism, social class, immigration, and White privilege continuously collide throughout the evening in unpredictable, and sometimes violent ways.  The result is theatre that impacts your heart, brain, ears, and eyes simultaneously.

Director, Alton Fitzgerald White successfully conveys his vision of turn of the (20th) century America through song, dance, costumes, and set.  While the plot is relatively complex and lengthy, the story never drags.  Bonus points from this critic for utilizing both the aisles and box seats of the Fulton for effective storytelling purposes.

The wealthy family that serve as the cornerstone of the show are nameless.  Nevertheless, they are consistently excellent.  Mother (Laurie Veldheer), Father (Bryant Martin), Younger Brother (Nick Pattarini), and Grandfather (Peter McClung) all have stand out moments either in song or prose. Most impressive was Cody Gerszewski as the Little Boy.  Gerzewski’s role was substantial and contained a good bit of the comic relief of the show.  He handled this artistic responsibility with poise and authenticity.

Erick D. Patrick was truly phenomenal as gifted jazz pianist and social lynchpin, Coalhouse Walker. Jr..  Patrick conveys grace and dignity in his portrayal. He gains our understanding, if not sympathy, after his peaceful and lawful approach failed.  Grace Ellis Solomon was well cast as Sarah, the love of Coalhouse’s life.  Although her character was silent for long periods of time on stage, her body language and mannerisms provide deep insight for the audience.

Ben Fankhauser (Tateh) and Paloma Cleaves Rothacker (Little Girl) serve as the core of Ragtime’s third story, the tale of a struggling Jewish immigrant and his daughter.  Both pull at our heartstrings and give us hope and inspiration as they overcome adversity and pursue the American dream.

The playbill lists a cast of 41, with many individuals serving as both the ensemble and as popping up as cameos as historical individuals of the time such as Harry Houdini, Emma Goldman, Henry Ford, and Evelyn Nesbit.  While I understand the desire to include real-life celebrities to bring context and authenticity to this fictional story, quite often the inclusion seemed somewhat superficial.  The story is already packed with intriguing characters and engaging situations; it seems unnecessary or even heavy-handed to “do a Forrest Gump” with fictional ordinary people continuously meeting up with the famous.

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