An American flag that's the curtain spanning VT's wide MainStage promises an epic quality to Ragtime -- the musical it opens on. And this production of the musical makes good on the promise.
It starts basically yet spectacularly: Groups central to the action introduce themselves in turn, then cross to their places on sides and up from down center. Visually, they're also depicting what they do in life at the start of the 20th Century.
There's a WASP family all in splendid white fabrics and high on the social-economic scale. Starchy businessman Papa, loving and good manager Mama, her Younger Brother who'll become a rebel, son Edgar who'll have a lot to learn, and biased Grandfather -- all live in New Rochelle and sing sweetly, properly. What a contrast with the black American group -- singing out loudly, sashaying or, with Coalhouse Walker Jr. tickling the ivories, thumping and ragging. Off of steerage and due to pour into East Side NYC come immigrant Jews from Eastern Europe, like silhouette artist Tateh in near rags but full of hope, with the motherless daughter he must raise.
As they cross to varied music, so their paths will cross in the era characterized by ragtime and the enjoyment and pursuit of the American Dream.
To comment on the people prominent in the plot and sometimes to advance it are historical figures such as Negro leader Booker T. Washington, immigrant Houdini, successful businessmen J. P. Morgan and Henry Ford, the showgirl at the heart of a scandal -- Evelyn Nesbitt, and Emma Goldman, reformer and anarchist. A huge supporting cast contribute everything from crowd members to biased firemen to black rebels to baseball fans. Their voices and movement prove valuable back-up to those of the leads. Always in harmony.
Brought in from New York to play Coalhouse Walker Jr., Kristofer Geddie evidences professionalism yet takes time to ease into his vocals. He's second to Delores Elizabeth McKenzie's Sarah, mother of his child, as they sing of their "Wheels of a Dream." A balladic centerpiece. Joseph Giglia comes on strong with "Success" envisioned by Tateh.
Best of all solos, Kim Kollar's "Back to Before" illuminates how Mother changes. Her characterization's a standout from the start as well. Of course, she's wasted on Father (whose difficulty adapting even to "New Music" is conveyed so well by Chris Caswell). Kelly Leissler Jr.'s Younger Brother (of Mother) seems sincere but could be a bit more dynamic. Maria Oppenheim's Emma Golden couldn't. Kim Hough not only revels in Evelyn Nesbitt's sexiness but adds to the effectiveness of a trick by Tony DeNiro's confident Houdini. All the "famous" are well depicted. The musicians do full justice to the score.
A very funny ballpark scene has Father trying to get Edgar (fine Eli Schildkraut) to enjoy being a spectator. The satire's more fitting as comic relief, however, than illustrative of the lessons of a suburban patriarch to his son. Its inclusion wouldn't be disputable if the musical -- in particular, the first act -- were a tad shorter. Altogether, Brad Wages has done himself proud in making Ragtime move and moving. It's a standout in VT's history while depicting some of America's.
