Mia Vavasseur, Emma Yarian, Cheyanna Duran, Lex Gonzalez and Audrey Fischer (Photo by Jan Glasband)
Reviewed by Madison Mellon
El Portal Theatre
Through September 21
RECOMMENDED
Ragtime is an ambitious undertaking for a company of any scale. With a massive cast of both fictional and historical characters, a story spanning years, and a complex series of interwoven plotlines, the musical is something of an American Les Misérables. For this reason, it is impressive that the Actors’ Repertory Theatre of Simi, in collaboration with Castle Entertainment, has managed to keep so many moving pieces working smoothly together. While the show occasionally seems to stretch the capacity of the cast and creative team, it is ultimately an engaging and stirring production.
Based on E.L. Doctorow’s novel, Ragtime follows three groups navigating America at the turn of the 20th century: a white upper-class family from New Rochelle, Jewish immigrants chasing the elusive American dream, and African Americans pursuing dignity and justice in a deeply unjust society. Their paths intersect in unexpected ways against a backdrop of historic figures such as Booker T. Washington, Emma Goldman, and Henry Ford. At its heart, the musical examines a tumultuous society that is rife with prejudice and cruelty, but that also glimmers with hope and the promise of something better.
The cast is very capable, with several standout performances. Alex Mohajer brings both energy and vulnerability to Tateh, making his immigrant’s journey feel deeply human. Samantha Craton (Mother) and Natalie Chavez (Sarah) have lovely, expressive voices that soar in their numbers, well-suited to the grandeur of Ahrens and Flaherty’s sweeping score. As Coalhouse Walker Jr., Roland Mills commands the stage with presence and charisma, though his operatic tenor occasionally feels mismatched to music originally conceived for a deeper, bass-baritone timbre. One of the challenges of Ragtime is balancing the immense scope of the story without reducing the characters to symbols or archetypes, and this cast largely succeeds in grounding their roles in sincerity.
That said, the production shows some limitations that keep it from fully transcending. Becky Castells’ choreography is neat but often quite simple, likely tailored to the varying experience levels of the ensemble. As a result, large numbers such as “The Gettin’ Ready Rag” and “Atlantic City” feel more restrained than jubilant. Scenic design (the set was built by Travis Miller, Carson Miller, Brook Shafer, and Lani Tunzi) also wavers in effectiveness. While the show has been staged successfully with minimalist design, what’s missing is intentionality. Coalhouse’s Model T, for instance, is represented by a cumbersome moving car that looks unfinished, with the actor’s feet visible as he propels it. This undercuts the intensity of the scenes where Coalhouse is harassed with vile, racist slurs and the car is ultimately trashed. The production would benefit from more symbolic choices rather than attempting the more representational style of larger productions.
None of these shortcomings sink the show, but they do leave a few seams showing in an otherwise strong effort. Director David Ralphe keeps the sprawling action moving at a brisk pace, and under Gary Poirot’s music direction, the ensemble’s voices ring out powerfully, particularly in the larger choral moments. The production succeeds in capturing the timeless relevance of Ragtime’s themes, which resonate even more urgently today as when the musical premiered.
In the end, this Ragtime may not achieve total polish, but it carries heart, commitment, and cohesion and rises to the challenge of a demanding work. What it lacks in refinement, it makes up for in sincerity and spirit.
El Portal Theatre, 5269 Lankershim Blvd, North Hollywood. Fri-Sun 7:30 PM; https://elportaltheatre.com/ragtime.html Running Time: 2 hours 45 minutes with 10 minute intermission.
