Ragtime at Toby's Baltmore is Event Theatre

Let me put it right out there:  Ragtime, at Toby's Dinner Theatre of Baltimore is an unqualified smash hit!  If the reaction of the audience on opening night is any indication of the response the show gets every night - they erupted in spontaneous applause several times, often in mid-song, and nearly stormed the stage with joy at the curtain call - it is also a crowd-pleaser.  That is no exaggeration or critical hyperbole, either.

This production, a hybrid of two previous incarnations directed by Toby Orenstein herself (this time co-directed by Daniel McDonald/>/>/>), deserves every accolade it has received, and will continue to receive.  Honored a few years ago with 9 Helen Hayes Award nominations -DC's version of the Tony Award, only harder to earn it seems, I am sure expectations for this version are quite high.  And those expectations are not only met, but exceeded.  It scores on every level, creating what amounts to Baltimore's only current "event theatre".  This huge show should be the talk of the town, and tickets should be snapped up quickly.  If there is any justice, every night will be a sell-out, and people will talk about the "time they saw Ragtime at Toby's in Baltimore."

The direction by Ms. Orenstein and Mr. McDaniel is smooth and crisp.  This sweeping saga flows with both a grace and urgency that makes the evening fly by.  In lesser hands it could easily plod along and even grind to a halt.  Stunning stage pictures and creative staging are becoming trademarks of this venue - all naysayers who find it impossible to believe that such a massive show can be successfully produced on a small stage and with intimate staging are far off the mark this time.  Wisely, the creative staff has chosen to go minimal with the settings - creative pieces, lighting, and beautiful costumes (designed by David Hopkins/>/>/>, Lynn Joslyn and Larry Munsey, respectively) suggest locations and social status rather than recreate them.  This Ragtime gets what the Broadway version missed - it is a show about people, first and foremost.  On Broadway, most of the story got lost behind wave after wave of spectacle and histrionic singing.  Not here.  Subtlety and focus are the order of the day and the result is brilliant. 

Creative transitions, mind-blowing tableaus and excellent choreography create a seamless presentation.  That choreography, by Tina DeSimone and Ray Hatch, compliments and heightens the tight direction, and adds yet another layer of artistry to the proceedings.  Ranging from ballet ("Harlem Pas De Deux") to authentic ragtime ("The Getting' Ready Rag") to traditional Broadway-style ("Crime of the Century", "Atlantic City"), the dancing by the amazing ensemble is nothing less than dazzling.  Musically, the show sounds Broadway quality as well, and is even more amazing when one considers that there are only seven musicians!  Musical Director Douglas Lawler has done a masterful job creating a full sound from his musicians and his vocalists.  Even those with a passing knowledge of the score - it covers a lot of territory with soaring anthems, jazzy numbers, spirituals and the like - knows that Ragtime would be a challenge to even the heartiest of performers.  To a person, this company of singer/actor/dancers has the chops to pull it off and then some.

With several star-making turns, Toby's Ragtime shows what magic happens when you have the perfect union of actors to roles.  There simply is not enough space to recognize each performer.  They are all excellent.  In the key roles, however, the casting is flawless and the performances unparalleled.  Nancy Asendorf as Mother is glorious.  Her voice is spectacular, especially in "Journey On" and "Back to Before", and her portrayal is both subtle and given the broad strokes that the script requires.  Jason Fulmer's Tateh is striking as well.  He plays the relatively complex role with a deep passion that makes his journey completely believable - the pain and fear Tateh feels as a new immigrant in America are tangible in act one, and his joy and exuberance as he finds success in act two are infectious.  It is hard to imagine a better Coalhouse and Sarah (Kevin McAllister and Ashley Parker) than the two who take the stage here.  They are absolutely mesmerizing.  Both inhabit these roles like a new skin.  Acting of this caliber in a musical is a rare thing - both actors create roles that are completely their own and non-derivative, and never once do you feel they are "acting".  Their emotions are so real and vibrant; you are drawn into their world easily and willingly.  Mr. McAllister is the embodiment of understatement.  His performance is so economical that each variation in mood and the build up of Coalhouse's rage is razor sharp and vivid.  Similarly, Ms. Parker's Sarah is devastating and heartbreaking.  (There is not a dry eye in the house as act one comes to a close.) 

In key supporting roles, Matthew Schleigh as Younger Brother, Matt Stanzione as Houdini and Melynda Burdette as Emma Goldman are stand outs.  Mr. Schleigh, in particular, is so moving and sympathetic as the young man in search of personal truth and something to believe in.  He is an actor who uses his eyes and face to speak volumes and fill in the gaps where the script leaves his character a little short.  Stanzione adds an air of mystery to the largely symbolic role of "successful immigrant" as he glides noiselessly around the stage. (It should be noted that the Houdini magic tricks are pretty darned cool.)  Burdette infuses her hard as nails character with a deep, fiery passion, that is both awesome and exasperating - the perfect mix for the real-life enigma that Emma Goldman was.  And as The Little Boy, Raymond Brodsky is charming - I see a long career in theatre from this young man.  Only a minor quibble- one wishes that as "the world's most beautiful woman," Evelyn Nesbitt, actress Maija-Liisa Nielson could find a layer to her character beyond the superficial.  Even celebrities that are "just personalities" have something intangible within them that draws people to them.  But the bottom line is that this cast is pretty much perfect, and they have been directed with that knowledge.  

A moving saga, both a tribute to our past and a cautionary tale of our future, this gorgeous musical is gloriously sung and breathtakingly acted.  Miss it at your own peril.

See the amazing offer Toby has for readers of BroadwayWorld.com on the Baltimore and DC pages!  But hurry!  The offer is strictly limited.  For more information go to www.tobysdinnertheatre.com.

It should be noted that Toby's Baltimore is conveniently located at the Best Western Hotel at the Baltimore Travel Plaza, just off both 95 and 895, and is also easily accessible just past scenic Canton, by taking Boston St.  The theatre has been completely remodeled and updated.  The dinner buffet includes a salad bar, a cheese and fruit bar, a variety of hot dishes and vegetables and hand-carved beef, turkey and ham, a make-your-own sundae bar and dessert besides!  Complimentary tea and coffee accompany the meal, and a full bar is available for an additional charge. (The show's signature drink, "The Silhouette" is delicious and available in both alcoholic and non-alcoholic blends, and comes with a commemorative glass to take home.)   The facility also features a huge, well-lit, patrolled parking lot just for Toby's guests.  Baltimore's newest theatre, and the best musical currently on stage, are poised to become Baltimore's newest landmark destination.  Don't miss Toby's Dinner Theatre of Baltimore!

PHOTOS: Top: Nancy Asendorf; Bottom: Kevin McAllister and Ashley Parker.  Photos by Chris Christiansen courtesy of Toby's Dinner Theatre of Baltimore. 

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