Ragtime ★★★★

By The Recs IT 2 years ago

Ragtime by the NYMT defies expectations what a youth theatre can achieve

You wouldn’t be blamed for imagining that a Youth production of one of the best modern musicals of the last 30 years (other opinions are available) might not quite hit the mark, especially with a book as divisive as a musical which tackles issues of racial segregation and early 20th century brutality head on, but in the case of the National Youth Music Theatre’s 2022 summer season production of RAGTIME, you’d be wrong. It is outstanding!

The success of what the creative team have been able to produce in just a few weeks this summer is of course made easier by the Tony-award winning score and book, which tells the story and struggles of three societal groups in the United States: African Americans, upper-class suburbanites and Eastern European immigrants at the turn of the 20th century. The show also incorporates historical figures such as Harry Houdini, Booker T. Washington, J. P. Morgan, Henry Ford and Emma Goldman. The subject matter is heavily historical and incredibly political, filled with racially-offensive language, not something you would necessarily ever think of suggesting for a Youth Theatre, but it is portrayed with such authenticity and respectfulness that the audience is in no doubt that they are looking back at a period in time when the world was so different from the one we live in now, rather than blindly digging up the past and acting disrespectfully. It is important for us all to be able to look back and remember how far we have come, and artistic pieces like this are a perfect way to do that.

All images by Konrad Bartelski

Hannah Chissick’s Direction of this ground-breaking show is utterly brilliant. There is rarely a point when you aren’t totally engrossed in this hard-hitting story, Terrance McNally’s adaptation based on the 1975 novel of the same name by E.L. Doctorow. From Direction to lighting, sound and the orchestra, the level of professionalism across the board in this production is well beyond any expectation you might have of an amateur theatre group.

The opening of the show has some powerful staging with the help of fantastic lighting and choreography, but what immediately strikes you are the flawless accents of each character, led by Laurie Jones as Little Boy (Edgar), who’s general American accent is straight out of a text book (in a good way). The show requires true sounding accents from general American to Jewish immigrant and beyond and this cast nailed every single one of them.

All of the supporting actors depicting famous names from the turn of the last century deliver solid confident performances and the ensemble are a commendably strong unit. Zolani Dube as Coalhouse Walker Jr. does his best and certainly has stage presence and a great look for the role, but it is a case in point that some things come from age, and at 16 years old it is understandable that Dube isn’t quite able to deliver the level of gut-wrenching passion and emotion of a character who has seen his wife murdered and belongings destroyed as a result of horrendous acts of racism. Katlo Masole plays the role of Sarah, certainly has the raw talent (and vocal range!) but at times during the crescendos of her songs lacks the technical skill to support what is needed to really satisfy this score’s demands. Her voice is without a doubt that of a leading lady and so her potential is huge with the right vocal training.

There were two stand-out performances from the leads in this show. Sam Sayan portrayal of a Jewish Immigrant Tateh, travelling to America for a new life with his young daughter came from a place of truth well beyond his years. He hit every emotion needed, able to serve up the comedy as well as the tragedy in the character’s storyline, and each of his songs were performed with the dexterity needed from this challenging score. Lucy Carter as Mother could have been taken straight from a Broadway production of this show. She was utterly flawless in every way. The quality, range and technical skill of her singing voice would give the likes of West End leading lady Gina Beck a run for her money, and she has the acting ability to match. If this young lady isn’t in Phantom of the Opera or Mary Poppins in the next couple of years The Recs will be sending the Casting Director a very strongly worded letter! She is a STAR!

In a show which has so many strong performances, especially from the leads, it isn’t likely that a member of the ensemble would really get chance to stand out but Buna McCreedy-Njie is an absolute joy to watch on stage. This young dancer’s technical skill, inner rhythm and stage presence was on another level to his peers. It was hard to watch anyone else in the group dance numbers and so we hope it won’t be long before this young man is dancing up a storm on a professional stage to the delight of anyone who can get a ticket.

Overall this production is proof that the youth of today are already more than halfway to being the stars of tomorrow. And the biggest takeaway apart from the well-deserved FOUR STARS this show has earnt? Never underestimate the professionalism and prowess of a Youth Theatre.

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