A Cast of Strong, Clear Voices

The early 20th century saw significant changes in societal and cultural America. The same holds true for the nation’s popular music, when ragtime brought a new beat to the hearts, not to mention feet, of the country.

Ragtime’s central structure emphasizes the weak beats instead of the strong beats, creating a syncopated, or “ragged,” rhythm. This musical style enjoyed its peak popularity between 1895 and 1918, but it still has a strong following today.

The underlying power of this music is a unifying element in Barrington Stage Company’s outstanding production of “Ragtime,” which is currently running at the Boyd-Quinson Mainstage in Pittsfield, Mass.

Based on the 1975 novel by E. L. Doctorow, the show had its Broadway premiere in 1998, but it is redolent of the world we live in today.

The plot follows several diverse characters and families whose paths cross over a span of years.

Father and Mother live a comfortable life in New Rochelle, N.Y., with their young son, Edgar, her younger brother and his father.

Tateh and his young daughter are on a ship bound for America loaded with immigrants from eastern Europe.

In Harlem, we meet Coalhouse Walker Jr., a black pianist who specializes in ragtime. He is searching for Sarah, his lover, who has left him without notice.

As we follow their stories and relationships, the dark side of the American dream becomes central to their lives.

The various scenes depict a broad panoply of American culture and history. Celebrated personalities from the past — J.P Morgan, Henry Ford, Emma Goldman, Evelyn Nesbit, Booker T. Washington, Harry Houdini — weave in and out of the plot, as do historical moments. Even if this weren’t a musical, the story would be gripping.

With a book by Tony-winning playwright Terrence McNally and music and lyrics by Stephen Flaherty and Lynn Ahrens, the music is an integral part in plot movement and character relationships. There are jazz and gospel numbers, comic songs, emotionally driven ballads and more.

Sarah’s “Your Daddy’s Son” is heart-wrenchingly beautiful, and “Back to Before” illuminates Mother’s recognition of her place in the world. In “What a Game,” Father and Edgar watch baseball with a number of fans of different social classes. The continual use of “New Music” explores the effect of ragtime on the characters and society.

The entire score is intrinsic to the development the play, and the voices of the entire cast are strong and clear.

The acting is uniformly exceptional. Darnell Abraham’s Coalhouse is determined to give Sarah (Zurin Villanueva) and his son all his love and the best possible life they can create together. Warmth and determination flow out of him. The chemistry and intimacy in the scenes between the two are tangible.

The evolution and disintegration in Father (David Harris) and Mother’s (Elizabeth Stanley) marriage is palpable, as is Younger Brother’s (Hunter Ryan Herdlicka) transformation into radicalism.

J. Anthony Crane’s Tateh is not a stereotypical Jewish immigrant. His shift from optimism to disillusionment to buoyancy is pronounced.

Using nostalgia to transport the play into its chronological context, director Joe Calarco and scenic designer Brian Prather have eschewed the elaborate sets of Broadway and established an atmospheric “American attic,” as Calarco calls it. Members of the cast uncover tables, chairs and other pieces of furniture and toys during the opening, all of which are used as the only set pieces in the show. The creative use of these props allows for continuous action without having to wait for major scene changes, thereby maintaining a dramatic hold on the audience.

Chris Lee’s lighting complements and highlights the scenes, whether in a beach’s sunlight or shadowy buildings. The costumes designed by Sara Jean Tosetti add to the identities of the various characters.

Calarco’s staging in concert with Shea Sullivan’s choreography is exhilarating. The large cast creates dynamic stage pictures that entertain the audience’s eyes and emotions. Calarco and Sullivan’s adherence to the needs of the score and the story bring a vitality and sensitivity to this enthralling production.

Stated simply, this is not a show to be missed. Get there!

“Ragtime” runs at the Barrington Stage Company’s Boyd-Quinson Mainstage at 30 Union St. in Pittsfield, Mass., through July 15. For tickets, call 413-236-8888 or go to www.barringtonstageco.org.

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