The Eagle Theatre presents ‘Ragtime’

Themes explored in E.L. Doctorow’s landmark novel — adapted for the stage by composer Stephen Flaherty, lyricist Lynn Ahrens, and librettist Terrence McNally — include the virulent racism and anti-Semitism that erode the promise of progress; the roles of women, within and beyond the domestic sphere; the rights and dreams of immigrants; and the quest to live a life of consequence. The hope for tranquility espoused by those opening lines quickly takes a backseat to harsh reality.

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What among this list doesn’t remain a pressing topic? Perhaps that’s why Ragtime, unlike so many contemporary musicals, has only gained in resonance since its premiere in 1996. That its creators worked from source material written 45 years ago and set at the turn of the last century speaks volumes. The farther we travel as a society, the more we find ourselves standing in the same place.

Given the ground it covers, it’s impossible not to draw parallels to events of the day. When I reviewed Pennsylvania Shakespeare Festival’s excellent production last summer, the ongoing crisis at the United States' southern border weighed heavily on my mind. It still does.

How could I not connect the story of Tateh (played here by the passionate Spencer Rowe) and his daughter (Annabelle Corigliano), fleeing a pogrom and praying for a free future, to the thousands of refugees who risked their lives in search of something resembling the American Dream? When Tateh transforms himself in the Baron Ashkenazy, a wealthy and successful filmmaker, I wondered how many today would be afforded such an opportunity.

Likewise, the image of Covington Catholic High School students surrounding a Native American elder played fresh in my mind as racist thugs mocked and belittled Coalhouse Walker Jr. (Ezekiel Andrew, a commanding figure with limited vocal ability). And when Mother (Kimberly Suskind) asserted her independence in the always-thrilling “Back to Before,” I thought of all the women who have given their voices to the #MeToo movement.

Many worlds

Ragtime lingers in our consciousness and in regional theaters across the country, because of these associations. Eagle Theatre’s production, under Ted Wioncek III’s steady direction, welcomes them, all while remaining true to the central story. The compartments of Don Swenson’s dollhouse set open up to reveal the many worlds encompassed within the drama, aided by subtle projections and lighting (by Chris Miller) that communicate inner meaning without overstatement.

Nicole Calabrese’s choreography demarcates Harlem, New Rochelle, and the Lower East Side as the ensemble ably switch from speakeasy patrons to shtetl residents to the moneyed class. Although the printed program lists no costumer, the level of design is universally strong.

An adult musical

Among the musical’s greatest strengths is the seamless blending of actual historical figures and events with the fictional frame. That element seems especially strong here, with Will Stephan Connell (Harry Houdini), Darryl Thompson Jr. (Booker T. Washington), and especially the droll Hanna Gaffney (Emma Goldman) bringing the past to life. Patti-Lee Meringo’s coquettish Evelyn Nesbitt, the ur-reality star, predicts our modern obsession with the cult of celebrity.

A fully adult musical, Ragtime treats its themes and subjects with respect, and that esteem extends to the audience. Some characters meet happy ends; others are not so lucky. Like life, it contains peaks and valleys, and sometimes what you hope for goes unrealized. But as Coalhouse suggests in his final aria, “Make Them Hear You,” the journey can outpace the destination in terms of importance.

In one of the show’s final lines, Tateh describes his life as “a dream of how this country can be.” That, too, is the message of Ragtime, and that is music to my ears.