My Own Take: Goodspeed's 'Ragtime' -- Big and Loud

The show: The musical “Ragtime” at Goodspeed Opera House in East Haddam.

What makes it special?: It’s an epic musical for Goodspeed, with 29 performers (!!!!!). It also was also lucky enough to get the license for the show because Lincoln Center’s Vivian Beaumont Theatre is producing the musical in the fall.

What’s it about?: It’s based on E.L. Doctorow’s sweeping historical fiction novel taking place in the New York area of between 1902 and 1915. It follows three turn-of-the-century families — one white, one black, one Jewish immigrant — as their lives intertwine, along with historical figure of the day including Harry Houdini, Henry Ford, J.P. Morgan, Emma Goldman, Evelyn Nesbit and Booker T. Washington.

That’s quite a lot of characters: Indeed, and though it seems there’s little libretto in the music-filled show, writer Terrence McNally has artfully structured the show to keep all the balls, so to speak, in the air and beautifully dovetailing with the rich, varied and very hummable score by the composing team of Stephen Flaherty (music) and Lynn Ahrens (lyrics). Ahrens and Flaherty are a wonderful composing team but this is by far their best — and quite a magnificent — score. Really goosebump inducing. McNally, Flaherty and Ahrens knew the challenge of adapting this sprawling book and its important American story — and succeeded grandly. Along with “1776” and “The Music Man” and a few others, this show speaks most movingly — and honestly — about America to me.

What about this production?: The show is beautifully costumed (Stephanie Bahniuk), lit (Charlie Morrison) and especially set-designed by Emmie Finckel who solved endless location challenges creatively and elegantly. And for the most part it was acted and sung very well.

But let me get right to my main problem with the production. The sound. Director Christopher D. Betts, sound designer Jay Hilton and music director Adam Souza (and maybe the actors, too: hard to say) have totally misread the room. The opera house theater is a relatively intimate environment yet the orchestra and cast played it as if they were at Lincoln Center’s Beaumont. In so doping it missed thge opportunity for the audience to lean into the characters and tghe performances.

Perhaps the actors struggled to be heard over the orchestra but never-the-less there was little subtlety to many of the singing performances. Too many times the actors began the song at the 10 level — with no place else to go and with little dramatic build. Normally, I’d say the production still needed time to balance the sound levels but there were plenty of time in previews to get it right.

Yikes: OK, I got that off my chest. I’d still recommend the show because of glorious music, the storytelling and yes, when they weren’t overdoing it, the performance were quite good, especially Mamie Parris as Mother and Edward Watts as Father. There’s no denying the terrific voices and emotional heart of Michael Wordly and Brendan Lark as Coalhouse Walker Jr. and Sarah, but they were misdirected to overplay nearly every scene they were in, not allowing us to be more intimately engaged in their powerful and heartbreaking story. Also featured were David R. Gordon as Tateh (charming); Blair Goldberg as Emma Goldman (needed a few more acting notes other than being forceful); Behr Marshall as Younger Brother (emotionally compelling); Mia Gerachis as Evelyn Nesbit (delightful). as was Jonathan Cobrda as an impish Houdini. I also liked Sawyer Delaney as Little Boy and Stephen Tewksbury was horrifyingly villainous in one role and delightful as Grandfather.

Who will like it?: Admirers of the book. Those theater fans longing for big, lush musicals. Americans who know from whence they came.

Who won’t?: ICE.

For the kids?: Young people will be engaged in the rich storytelling. There’s action, warmth, humor all which should engage them — though the running time is nearly three hours. (The first act is especially long. Not a criticism. Just a fact. I wasn’t bored for a second.)

Special notes?: This production contains racist and offensive language, violence, and murder. Sensitive topics including racism and social inequities are depicted. The N-word is used and is justified in its use for dramatic purposes.

Marquee quote?: Epic. Thrilling. Tuneful. And Very Loud.

Thoughts on leaving the parking lot?: “Ragtime” had the misfortune of opening on Broadway the same season as “The Lion King.” In subsequent seasons it would have swept all the Tony Awards. Being overshadowed by the brilliant Disney work prevented “Ragtime” to get its due. (A more modestly scaled tour of “Ragtime” was equally as effective as its massive original.) The musical is now getting this double spotlight: first at Goodspeed and later in the fall on Broadway — and at an important time in American history when the value of its immigrant roots is under attack.

One more thought — and which I’ve been thinking about for years: Since actors have limited number of words for their short bios in the program, must everyone have to say he/she “is honored,” “is excited,” “is thrilled,” “is grateful,” “is proud,” “is ecstatic” “is so happy” to be working at Goodspeed? Is this a mandatory genuflect or a re-edited one? Either way it’s very bush league.

If you had to give it a rating from 1 to 5 stars:? I resist giving stars because there’s no room for nuance. But I would heartily recommend the show with minor reservations — and one big one — the sound.

Info: The show runs through June 15. www.goodspeed.org.