Review: Ragtime by Zach Theatre

Review: Ragtime by Zach Theatre
by Ed Penn

Grand: My best description of experiencing Ragtime at Zach.

I had a grand time last Sunday afternoon; walking in on the sunny afternoon and exiting into a sunset framed nicely by the floor to ceiling windows. Even with a full house, parking was available in their two dedicated lots. Grand entrance: walking up the promenade steps to the new Topfer building; passing a two-horned fantastical speaker resembling something out of a Dr. Seuss tale that was playing period music. Walking through the spacious lobby and the 'sound airlock' to enter the auditorium, I was greeted by the rustling of packed house eager for the show.

The seats were steeply angled, guaranteeing everyone an unobstructed view. My seat was on the left wing. While unable to see upstage-left, I'm certain that only chorus members would be out of view.

The stage was named after Karen Kuykendall in memory of an actress who graced the boards at Zach. It deserves recognition for the inclusion of every bit of theatrical hardware usually seen in the more lavish touring productions. A height variance granted from the city allowed the large box in which all the curtains and 'flies' reside. Anything could be 'flown in' to set an intimate scene on this wide-open stage framed by a two-level white wicker set: a backdrop grid to transform the outside air into Grand Central Station, globe lights for a piano hall,a projection screen for an image of the Statue of Liberty, and even a flying man.

Kyle Scatliffe and ensemble (image: Kirk R. Tuck)

The stage itself features an elevator center-stage to raise 'Coalhouse' Walker, Jr and his piano so we can hear the title musical style that was the precursor to Jazz. Less noticeable but equally impressive are grooved tracks that silently slid out small sets as well as a Model T Ford. Previously, sets would be lugged in or rolled out on 'elephant skates'. Given all the moving parts, I can imagine a hard-working crew working diligently following the instructions of a stage manager. Flawless.

The orchestra pit must have taken a 'best of both worlds' approach. Having a pit is great: it allows for full instrumentation with a maestro peeking out to keep in time with the stage. This one avoids potential and literal pitfalls by covering it with four fitted blocks with open edges for sound; I didn't even see the conductor's head after the opening. No one can fall in, they can use full lights, and perhaps the sound is muted slightly to give the vocalists a chance to be heard; a common complaint whenever I see other, un-amplified shows.

Ragtime opens with the first group of actors: white -wearing white and carrying white parasols. The second group enters the stage but not joining the first: black - men in dark suits and women in patterned dresses. Finally the third group: Jewish immigrants wearing coarser cloth. The groups circle the stage and each other staying completely apart. Then the self-narration begins: Each character introduces him or herself disconcertingly in the third person; took me a moment to catch on that they were introducing themselves rather than other people.

Brooke Silverstein, Andrew Foote (image: Kirk R. Tuck)

Grand is the operatic style of the show since more words are sung than spoken. The scope of the story is epic: weaving in historical figures and finagling fictional characters into multiple and disparate historical events. While this cements the show in a specific historical period, it dilutes the story into fragments; making me wonder who is the hero, protagonist, or main character (those are occasionally different). A hero moves the story, while the protagonist is moved by the story, the main character has the most time onstage. Having a character arc, however, allows me to live another life at the theatre with an empathic connection.

The focus of the story shifts from white to black and to more recent immigrants. Relationships form and chance encounters happen. Since it's an American musical; let's just say 'It's a love story' an leave it at that. Ragtime is the syncopated music played by 'Coalhouse' Walker, Jr.; defined as "what black folk play for themselves". "Coon music" is what white folk play at minstrel shows wearing blackface but is mentioned only in passing. The director in his notes makes the bold choice to avoid this stereotypical portrayal and instead costumes the minstrels in stylized clothes and garish wigs.

Thinking back, the music style forms the stage dressing upon which all the players dance. The story is what happens to the people rather than what happens to the music. Of all Coalhouse's piano playing, I heard most what sounded like Joplin's The Entertainer. The songs sung and the music supporting them were full and vibrant and enjoyable.

I loved watching the show. One of Zach's strong suits has been innovative presentation of 'big-stage' musicals in their Kleburg thrust stage; even ripping the wall covering out, exposing their storage, and spreading the chorus around the ceiling for Rent. Giving up the more intimate space means losing the ability for an audience member to be singled out by a performer.

But much more is gained in the Topfer: it's large but leave the opera glasses at home. After seeing this show, I felt grand.

Click for first Austin Live Theatre review of Ragtime, October 28