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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the New York City Center ENCORES! Gala production of RAGTIME. Whether you cannot catch the show in person or want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers. So if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:28] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode. But before we start the conversation about RAGTIME, here are a few words from our advertisers. Half Hour.

[0:45] Jeff Malone: Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing RAGTIME. Winner of four Tony Awards in 1998, RAGTIME follows three fictional families in pursuit of the American Dream. Black pianist Cole House Walker Jr., played by Joshua Henry, and his sweetheart Sarah, played by Michelle Lewis. Latvian immigrant Tata, played by Brennan Uranowitz, and his little girl, and a wealthy white family led by matriarch mother Casey Levy. These characters join a host of historical figures, such as labor activist Emma Goldman, played by Tony winner Shana Taub. This New York City Center annual gala presentation is directed by Tony-nominated Encores! artistic director Lear deBessonet. So in this episode today, we're talking about the Encores! gala production of RAGTIME. So let's start this conversation with our hot take.

[1:38] Richie Grasso: Hot take on RAGTIME, probably my favorite Encores! production I've ever seen, and ranks up there as probably one of the great things I've seen in New York ever. Truly. I mean, compared to Broadway, off-Broadway, regional, everything I've seen. But in New York, this is up there. This was incredible. I've never seen a live and professional production of RAGTIME before, and this was astonishing to me.

[2:07] Jeff Malone: All right, here's my hot take. I really think that RAGTIME might be one of those perfect musicals for me. And I'm going to say, what Joshua Henry is doing up on that stage gave me all of the chills, all of the feels. And I mean, he is just giving a powerhouse performance. So bravo. And let's get into this production, because it is truly something. So we start with learning that RAGTIME was witnessed for Tony Awards in 1998. It's a really big show. You know, the 90s for Broadway was such a pivotal time when Disney was kind of moving in, and the Andrew Lloyd Webber, Stephen Sondheim eras were kind of not ending, but there was a lull time. This lavish show comes, and Aaron's and Flaherty, I always say of Aaron's and Flaherty, they write so many things, but once on this island, Seussical and RAGTIME are their mainstays.

And that's astonishing to me, because all three of those scores are so different. And all successful in different ways, right? Seussical is wildly successful in community theatres and children's theatres, but it was not on Broadway. And RAGTIME is just successful anytime it's done. We did have a RAGTIME revival in the early 2000s, maybe it was 2010, 2012, somewhere around there, I think. It had a short run, but it came back. I mean, listen, this show is structured so eloquently. It's based on a book. You know, Terrence McNally wrote the book to this based on a book, may he rest in peace. Aaron's and Flaherty write gorgeous melody, gorgeous lyric, and the story is told through music because the name of the show is RAGTIME.

So there's this heavy aspect of realizing that the style of music that we're talking about is a direct correlation to what is happening in America at the turn of the century. Music is changing. Music historians will look at what was happening in music from the late 1800s to the early 1900s as historic. I mean, we look, I think, you know, Jeff, with your music background too, we look at the 50s, then the 60s, then the 70s and the 80s change, change, change, change with sound. How fast has music changed from the 50s to today? Like dramatically, multiple times. But for the first, and this is not the only genre of music, but music really changed with RAGTIME music in American history. And I think that that was so smartly crafted here when you have three different families' stories happening on the same American soil in the same New Rochelle town. And what's happening with these three families is so evident in the style of RAGTIME music, and that's so clear here.

[5:01] Richie Grasso: Yeah, I think it's a unique thing to look at while watching these three different families happening and intertwining into each other, which I always love when you find a piece where they start connecting and moving through and you later kind of realize like, oh, the story's kind of being told to us by the kid, I feel like at least. But yes, when you take the RAGTIME music and you see like how change is coming and progressing and moving forward, and it's kind of the driver of this piece here, and how melody is becoming such a major factor as well, that soaring melody that takes you through this journey, it just is what hits it on the head for me. We also are dealing with such diversity and representation, but also it's interesting that we have these three families that are fictional families, but representing real people.

But then we have the actual real people represented of the time like Harry Houdini, like Emma Goldman, like J.P. Morgan, like Henry Ford, these people who are Booker T. Washington, right? There's so much reference. Evelyn Nesbitt, right? I think Evelyn Nesbitt was a real person. I think these people were all represented within the families. And then I think what is astonishing here is, we talked about this leaving the theatre, what do you think this relevance is? And I think there's such rooted relevance to who gets a name out of the fictional characters. Who gets a name, and who does not? That is so clear here, and I hope everyone realizes how extremely important that is, that Cole House and Sarah and Tata have names, but then father and mother do not, and even grandpa and brother do not have names, but then Henry Ford does, and Booker T. Washington does, but then Tata's daughter does not, right? It's so interesting to me who has a name here and who doesn't.

[7:06] Jeff Malone: Well, we kind of had a little bit of a conversation. And listen, I'm sure many people have their theories on this piece, and they have had deep conversations that I'm sure we can go and look at, but this is ours today. So we were kind of talking a little bit about how this family and why their names are mother and father and they don't have names is because it almost feels like they are the start of the hub of this family that's getting created, or that they're the ones that are already established in America, and how these other families are starting to make way in here, and that's why they need to have names. I mean, you could go on endlessly with what the actual theory is here, but until they all become a family at the end, and the first person that we hear is the son of Cole House and Sarah, that they give a name to him.

And that's like the first time you hear the name. Where mother doesn't have a name, and the daughter, Tata's daughter does not have a name. Tata does, but he even makes a lot of reference in the show like, oh, I was given a name, but you call me Tata. There's reference to that. And then there's just relevance to, and listen, I will say this is one of the greatest openings of a musical ever. It is not only because the song is so good, it's like a seven-minute number, but because you are identifying the plot and the conflict from the very, very beginning. And how many musicals open with some stupid, I don't know if it's stupid, but some over-the-top production number just to kind of get your attention. This has lyric, and the movement of the three families and the communities on the stage, making it very clear where all these families stand in history.

[9:00] Richie Grasso: And it's also astonishing to me how I look at this and I say, oh, this was 100 years ago. Okay. But also, oh, some things have changed. Some things have not changed.

[9:10] Jeff Malone: Yeah. The relevance of themes from this piece that are so current today. Listen, yeah, putting ragtime here during an election that is polarizing.

[9:22] Richie Grasso: Yeah. We saw this prior to the election. Today we're recording this on the day of the election, so we don't even know what's happening. And tomorrow when this is released, we could either be in a new world or in a very behind world, and who knows what that's going to be. But to see that on the stage, and we were leaving there and we were saying, wow, we feel like we've come so far, but at so many moments, have we? It's kind of scary.

[9:54] Jeff Malone: I also look at some of this and I say, do you kind of feel, and this was one of my questions that I have for you, do you kind of feel the historical characters in this piece are a distraction to what's happening among the families or they're important?

[10:10] Richie Grasso: I think it's a little bit of both, but I lean a little bit more towards important because I think it's important to remember that while we have fictional families, there were these real people existing at the time doing things. Listen, was Harry Houdini doing something different than Booker T. Washington? Sure. Was Henry Ford doing something different than Evelyn Nesbitt? Sure. But the point was, the whole point of Evelyn Nesbitt here is the distraction. It's the little bit of the Roxy Hart in Chicago element of what are people interested in while there's major problems? We're going to watch Evelyn Nesbitt sing the Crime of the Century song about her shooting the lover. That's all, yes, but that was what was happening. It was the start of pop culture, quote unquote. What was happening and what caught people's eyes, and remember, this is before the Great Depression. This is before World War II. This is before some really serious...

[11:03] Jeff Malone: Welcome back to "Half Hour with Jeff & Richie." Today, we're diving into the New York City Center Encores Gala Production of "Ragtime."

[12:03] Richie Grasso: That's right, Jeff. This production has brought together a star-studded cast to revisit this Tony Award-winning musical that explores the American dream through the stories of three families.

[12:33] Jeff Malone: Absolutely. The opening number is so powerful, setting the tone for the entire show.

[12:39] Richie Grasso: It really is. The energy and emotion in that first scene are palpable, and it immediately draws you into the world of the characters.

[12:45] Jeff Malone: And speaking of characters, the performances we saw were nothing short of spectacular.

[12:51] Richie Grasso: Yes! Each actor brought their own unique flair to their roles, making the characters feel both relatable and larger than life.

[13:01] Jeff Malone: I was particularly impressed by the way the cast handled the complex themes of the show.

[13:11] Richie Grasso: Right? The relevance of "Ragtime" in today's society is striking, especially considering the ongoing conversations about race and identity.

[13:21] Jeff Malone: It’s a timeless piece that resonates with audiences, and this production really highlighted that.

[13:31] Richie Grasso: The production design also deserves a mention. The set and costumes beautifully captured the era while still feeling fresh and vibrant.

[13:41] Jeff Malone: I agree. The visual elements complemented the storytelling perfectly, enhancing the emotional impact of the score.

[13:51] Richie Grasso: Speaking of the score, the music in "Ragtime" is just breathtaking.

[14:01] Jeff Malone: Yes! The way the songs weave together the narratives of the characters is masterful.

[14:11] Richie Grasso: And the emotional weight of those musical numbers really hits home, doesn't it?

[14:21] Jeff Malone: It does. You can feel the struggles and triumphs of the characters through the music.

[14:31] Richie Grasso: So, do you think this production is setting the stage for a triumphant return to Broadway?

[14:41] Jeff Malone: I certainly hope so. If this performance is any indication, "Ragtime" deserves to be back on the Great White Way.

[14:51] Richie Grasso: Absolutely. It’s a show that not only entertains but also challenges and inspires.

[15:01] Jeff Malone: Well, that wraps up our analysis of the Encores! production of "Ragtime."

[15:11] Richie Grasso: Thanks for joining us today! Be sure to share your thoughts on "Ragtime" with us on Instagram.

[15:21] Jeff Malone: And don’t forget to follow us for more Broadway discussions and insights.

[15:31] Richie Grasso: Until next time, keep celebrating the magic of theater!

[22:07] Jeff Malone: We don't know when the good time was.

[22:11] Richie Grasso: Yeah, and we will never go back to before means a lot.

[22:16] Jeff Malone: So many things. I mean, there's a lot of meaning here. But what I will go back to...

[22:21] Richie Grasso: Yes, she has the anthem, and it's great. And I thought she was really great in the role.

[22:25] Jeff Malone: Yeah, I liked her in this. I did. Now, I will go back to what I was saying.

[22:30] Richie Grasso: I know what you're gonna say.

[22:31] Jeff Malone: What I was saying before. Listen, we have someone in the ensemble that I will shout out on this podcast.

[22:40] Richie Grasso: She's a feature here.

[22:42] Jeff Malone: Okay, featured. That I will shout out on this podcast every single time she is on that stage. But Miss Tiffany Mann commands the stage, steals so many things every time she is on that stage. She owns it. She sings it. She belts it. And when is Tiffany getting the big role on Broadway? I need to know. Because she's one of my favorite voices in the scene. City Center Encores! clearly loves her. She clearly loves it. She's getting great roles. She's always working. I think she was at Muni this summer, right? She's always working.

[23:17] Richie Grasso: Well, playing Miss...

[23:22] Jeff Malone: Oh, yeah, right. But I will say she did originate a role in Be More Chill, right?

[23:29] Richie Grasso: Yes, and that's where I fell in love with her. Because I literally turned to you and I said, oh, that girl is belting the house down.

[23:35] Jeff Malone: Okay. And that act one finale of Ragtime that she's just featured in is incredible.

[23:40] Richie Grasso: Yeah, what do you do again? I grabbed her arm and I said, I knew Tiffany was not going to be up on that stage not having a moment because she had it.

[23:47] Jeff Malone: Oh, of course. No doubt. No doubt. She's a star. And we're going to keep seeing her. Like, I have no worries ever that we're not going to... I will travel to a regional theatre to see her if she is... Tiffany, we love you. We love you here at FHR Podcast.

[24:05] Richie Grasso: All right, so we're going to get ready to move on to some of our experience of the show and think about what the future is for this production of Ragtime. But before we do that, here's a few messages from our sponsors.

[24:16] Jeff Malone: And we're back. So we were sitting amongst a lot of Broadway people at this night. There was a lot of people in the audience, familiar faces. Many that I think probably wanted to be up on that stage. Maybe. But tears were flowing. Chatter was had. We're hearing rumours that this is going to potentially do a Broadway transfer in spring 2025 or maybe summer 2025. We don't quite know when a theatre is available, what Tony season it would be in. Listen, we're all... Every 10 or 15 years, you see a revival of Fiddler on the Roof. Every 10 or 15 years, you're going to see Ragtime. We're due again for a Ragtime revival. I just think so. I think this could be it. I mean, it could easily if something closes. Listen, if last year was anything to look at, like last season, shows opened up in this fall this time and they were closed by Christmas. So it could be anything.

[25:09] Richie Grasso: And I think it could transfer easily to the spring.

[25:14] Jeff Malone: Do we want this to fully transfer, though?

[25:17] Richie Grasso: The cast?

[25:17] Jeff Malone: Yes, 100%. But do we want the lavish production? I think everyone would be craving a hungry, lavish production of this. So let's think twice before we just say, let's rush this to the stage. I actually think you and I were having a little chatter about this, too. Lear's going to Lincoln Center. Is this Lear's thing that she's going to bring to Lincoln Center as the first production? Could also be that after Floyd Collins. You know, maybe. Who knows? Or does she say, lying in the sand, I'm going to Lincoln Center. I'm going to do my own thing. And this might be the last thing that she transfers to Broadway. Could be that, too. Into the Woods coming when it did. Mattress coming when it did. Parade. Parade. Ragtime now being here. If she's scheduling everything as an artistic director, she's doing a good job at choosing the right shows for the season.

[26:16] Richie Grasso: Now, as a director, we could talk about some of the directional choices. That's another conversation. As an artistic director being in charge, when I read Once Upon a Mattress, Sutton Foster, I was like, oh, yes and yes. So when I see Ragtime, Gallop production, yeah. Into the Woods with Sarah Brown, yeah. Every time it kind of hits the nail on the head. So yeah, maybe that's why Lincoln Center wants her coming in, because we haven't seen since Camelot, the golden age, Roger and Amberstein, Lerner and Lowe revival there, that we've seen a lot of plays at Lincoln Center lately. I think we're craving the big, lavish golden age. I always think there's room for golden age. And Ragtime's not quite golden age.

Ragtime feels like golden age. So we're going to get Pirates of Penzance in the spring with Roundabout. And Gypsy's somewhat golden age. And that's coming too. So we always get it. Listen, I'm going to stop you for two seconds. Golden age is moving farther and farther away. And new shows are moving into the spot that once golden age.

[27:19] Jeff Malone: We have to start to remember shows from the 70s, shows from the 80s are starting to get old. And that's going to continue to happen. We're not just going to be doing golden age shows for the rest of our lives. There's a lot of stuff that's going to start moving into that category, because I'm sure we have nieces and nephews that will be like, oh, that show's old.

[27:38] Richie Grasso: I personally think, and anybody listening here can disagree, I think we're always going to have a music man. I think we're always going to have Oklahoma.

[27:50] Jeff Malone: Of course. I think we're always going to have a West Side Story.

[27:54] Richie Grasso: I mean, I think we're always going to have those. Roger, Sound of Music. I just feel like that's always, whether it happens frequently or not, that's another story. But I mean, yes. But then I know what you're saying, like, could Phantom come back? What I'm really saying, though, is when you think about Ragtime, it's 26 years old.

[28:10] Jeff Malone: More, more, right?

[28:15] Richie Grasso: No, it's 26-ish. Almost 30 years. Almost 30. That's so wild when you start thinking about these things. When Phantom of the Opera originally came out, I mean, and now how many years it's been, it's-

[28:29] Jeff Malone: We're getting up to something like Oklahoma being, it's arguably one of the first proper book musicals, and from opera to opera, edit a musical theater, if you follow the lineage of that. You look at Oklahoma being one of the first, Showboat, really, Showboat, Oklahoma. Those, we're getting close to 100 years. I mean, which doesn't seem like a long time in the grand scheme of music history or theater history, compared to Shakespeare and Mozart and things like that, of course. But 100 years of American musical theater, we're getting almost up to 100 years. And don't you think those estates of Showboat and Oklahoma, my friend later, but eventually we'll want to say, yeah, let's do 100-year anniversary productions. 100 years, that's a long time. We're going to start getting to that, and they're going to be lavish, and they're going to be lovely.

[29:14] Jeff Malone: Yeah, yeah. So there's room for everything, we always say.

[29:17] Richie Grasso: Yeah, I do think it could transfer, though. I do think the energy of the night was a great experience for us. And how many times did you tear up when?

[29:24] Jeff Malone: Oh my God. Well, the opening really just moves me. I find the opening to be so good. I teared up there, Wheels of a Dream. I stood, and some did, and I stood at the end of that. That was a standing ovation for me. There were many people for the standing, which was well-deserved.

[29:47] Richie Grasso: Yeah, and Sarah Browneyes really moves me, and that really moved me. And then Back to Before moves me, too. And Gliding, Gliding, that moves me. I just tear up a lot in this because I find such passion and emotion. And I will also say this before we got to go. There is rumors of a movie being made of this. It's been rumored for a very long time. It's been talked about for many years. I don't know what's taking it. I guess, look how long it took Wicked. Look how long it took Phantom of the Opera movie. Some movies take a very long time. This is very filmic. And it deserves a lavish-

[30:25] Jeff Malone: With the right director.

[30:26] Richie Grasso: With the right director and production company, I think you need lavish big budget to really do this right because this could be really done right with the right cast. And we need the movie of this very soon. I really, really do think that. Let's hope that the right people get in the right place for that. But let's hope for that. I'm going to put that into the world. It needs a filmic director. I will say that, though.

[30:49] Jeff Malone: It needs a-

[30:50] Richie Grasso: Yes, because there's a lot of movement. There's a lot of locale. There's a lot of fight scenes and then dancing and then costumes. There's a lot going on here. You want it to feel like a film and a musical, but you don't want it to feel too over the top. If you can find that balance as a director, you don't want random dancing in the street if it doesn't make sense.

[31:18] Jeff Malone: Right.

[31:18] Richie Grasso: Does that make sense?

[31:19] Jeff Malone: It does make sense because you have to also remember-

[31:22] Richie Grasso: But then again, oh my god, imagine costuming a huge budget production of this for Hollywood.

[31:26] Jeff Malone: Oh, it would be amazing.

[31:28] Richie Grasso: It would be gorgeous. So anyway.

[31:32] Jeff Malone: Oh my gosh, just about out of time here. What are your final thoughts on this New York City Center Annual Gala Presentation of Ragtime, Jeff?

[31:39] Jeff Malone: I would say go see this ASAP. You don't have a lot of time to see this if you're listening to this today, which would be Wednesday or beyond. You have until the end of the weekend. So check it out. Unless it transfers, which fingers crossed, because I would go see this again in a heartbeat. But yes, everyone on that stage is delivering and creating something beautiful.

[32:05] Richie Grasso: Love it.

[32:06] Jeff Malone: Yeah, truly one of the great pieces of theatre of our time. Love it, and let's hope it doesn't probably transfer. And love knowing that this is just the start of- we have three more Encores! shows coming up. We have Urinetown.

[32:18] Richie Grasso: I love that show.

[32:20] Jeff Malone: The Wild Party.

[32:23] Richie Grasso: The Wild Party. Love that.

[32:25] Jeff Malone: And then we have The Learner in Low, and I'm forgetting the name of it.

[32:28] Richie Grasso: Is it Love Letters?

[32:29] Jeff Malone: No, not Love Letters. I know Victoria Clark's directing it. I'm totally forgetting. But it's The Learner in Low, and we love Learner in Low scores. So that'd be great. So that does wrap up our discussion today on this episode. We hope you enjoyed our deep dive into Ragtime. We will share the link with ticket information in our description here for the final weekend of performances. And remember, we would like to hear from you. Continue the conversation with us on Instagram at halfhourpodcast. And let us know your thoughts on Ragtime. And if you enjoyed our show, please leave us a review. Your feedback helps us bring more theatre to you. And remember, you can listen to past episodes and stay tuned for upcoming ones as well. Until next time, I'm Jeff.

[33:06] Richie Grasso: And I'm Richie, saying ta-ta for now.

[33:08] Jeff Malone: Bye-bye.