You tell stories like your hands play tunes.

I'm a little (re)obsessed with Ragtime.

It's not that it ever went away, mind you. It just kind of faded into the background for awhile with the rest of my musicals.

However, with Lyric's upcoming production of Ragtime so near, I decided to reacquaint myself. And admittedly, I've just fallen in love with all over again. Swoon.

First off, a confession: I have not actually seen this musical. So I always have to preface my "favorite" tag with that notation. It is my favorite - I know the book, all the beautiful music and pictures, but with having yet seen it I still don't know well how it works in production. Sad, isn't it?

But Ragtime is a very large show. Traditionally, the set is massive, the cast is massive and the orchestra needs to be massive. It can potentially be very hard for expense reasons alone. So it doesn't necessarily get a lot of opportunities, at least not here. I can't express to you how excited I am that Lyric is taking this on, especially when the few shows I've seen in these recent seasons have been knocked out of the park. Actually, they were supposed to attempt it last year (it was on Civic's calendar, but never officially announced) and then it was removed without warning. Lame.

And that's just expense. Honestly, the talent needed to really pull of this show is intense as well. I often liken Coalhouse to the Phantom, in the sense that in order for the audience to fall in love with him he has to have a larger than life personality, gorgeous voice and tons of charisma. Brian Stokes Mitchell plays Coalhouse on the OCR and while I'm not a fan of him in everything, he's absolutely perfect for this role. And Sarah? Audra McDonald. Who is pure brilliance.

Here, just listen:


This song is so simplistic on the surface, yet it just gives me chills. They're voices are so lovely, there's so much character there. (I had actually never noticed Coalhouse's vocal fall at 1:40 until tonight and it's just beautiful.)

Okay, so part of the reason I'm so smitten is because of the Original Cast Recording. Its true.

But listen to those beautiful orchestrations. The touch of ragtime. If you were to ask me for my favorite working composer today I would be hard-pressed to choose between Adam Guettel and Ahrens & Flaherty (lyrics & composition alike, but they almost always work together.) Both sets tailor their music to the world they're creating so well that I believe they're unsurpassed in today's theatre. (You will know Guettel for Floyd Collins & Light in the Piazza, whereas you will known Ahrens & Flaherty for Once on this Island, Seussical and of course Ragtime. Flaherty also did the music for the animated film Anastasia.) I wish I could find a solid recording online of "Henry Ford" because it really showcases Ragtime's sound use of gears and steam.

And I have hope that Coalhouse will be well-handled. I recently discovered that actor was coming off of Broadway's Scottsboro Boys which I saw performed on this years Tony's and there is not a bad voice in the lot.



I keep considering buying the cast album to that show. (I'm not as crazy about the minstrel opening, but I love the train song.) The voices alone may be worth it.

And while I'm here, could you imagine trying to dramaturg this thing? It would be a monster. Yet, I still think it would be fun to try. (Ha, maybe one day I should build up a dramaturg's book just for the sake of curiosity.)

Honestly, this is the most excited I've been about getting to see theatre in awhile. This show has always been top on my list from the first time I heard it. Which happened to be in Sarkey's at 3 AM with Susan while trying to finish our final lighting design project.

(For those curious, the top of the must-see list now belongs to In the Heights with Caroline, or Change following close behind.)

(EDIT: Oo! And Floyd Collins! Can I add another one? Floyd Collins sharing the second spot with Caroline.)

Considering it's not for another two weeks or so yet, there's a small wait. I apologize in advance. I'll try to keep my blathering to a minimum.