‘Ragtime’ Is A Beautiful Trip To The Turn Of Last Century

Every so often, a play comes along that makes you realize that what you are witnessing is nothing less than a piece of theatrical history. These are the magical shows that define generations and speak to social constructs that strike at the core of the soul and the nation. Productions like this are few and far between, and, though rare, are the ones talked about for years to come.

Such a show is currently running at Bay Street Theater in Sag Harbor. “Ragtime,” with music by Stephen Flaherty, lyrics by Lynn Ahrens and a book by the late Terrence McNally, represents the grand finale of Bay Street’s trio of summer plays, and what a finale it is — a sweeping, luxurious and beautifully crafted musical that is, quite frankly, nothing less than stupendous. It is, hands down, quite possibly the best show that has ever been presented on the Bay Street Theater stage.

No, seriously, it’s really that good.

In the hands of Bay Street and director Will Pomerantz, “Ragtime,” which opened on Broadway in 1998 and is set at the turn of the 20th century, is perfection from beginning to end. Maybe it’s the Broadway quality talent of the stellar cast and top-notch production values that hit the mark. Or perhaps it’s the way in which both the script and the score delve deeply and powerfully into the complicated issues of racism, prejudice and immigration before coming to rest poignantly on the foundation of the acceptance that is so sorely lacking in society today. Or perhaps it’s because it all feels familiar thanks to the local legends who were attached to the creation of “Ragtime,” including Sag Harbor’s E.L. Doctorow, who wrote the novel upon which the show is based, and the brilliant playwright Terrence McNally, a longtime East End resident who tragically died from complications of COVID-19 in spring 2020.

And let us not forget the historic figures of note resurrected on stage in “Ragtime,” some of whom also had a presence on the East End. Among them is architect Stanford White, who designed the clubhouse at Shinnecock Hills Golf Club and the Montauk Association cottages. He makes a brief appearance in “Ragtime” as the murder victim of Harry K. Thaw, husband of showgirl Evelyn Nesbit (played by Cathryn Wake) with whom White carried on an affair until Thaw shot him at Madison Square Garden’s Rooftop Theater in 1906 (yes, gun violence was even an issue way back then). Then there’s Henry Ford, inventor of the Model T and assembly line production methods. He had an estate in Southampton Village and figures prominently in the script as well. Other famous real life figures from the era who make an appearance in “Ragtime” are illusionist Harry Houdini, financier J.P. Morgan and educator Booker T. Washington (played Davon Williams) as well as anarchist and rabble-rousing union organizer Emma Goodman (portrayed by Victoria Hustin-Elem).

But in “Ragtime,” the celebrities are less main characters and serve more as illustrative footnotes of the changing times in which the musical is set. The storyline itself actually centers on a trio of New York families, all very different in terms of their socio-economic standing, but all of whom are working to carve out their place in early 20th century society. The play’s opening act begins in Westchester County and upscale New Rochelle, where we meet Mother and Father (Lora Lee Gayer and Daniel Jenkins), a wealthy white couple, and their young son, Edgar (Will Hantz) and Mother’s Younger Brother (Harrison Bryan). Father is preparing to leave home to join Admiral Robert Peary on a year-long expedition to the North Pole, and he wonders if Mother will be capable of managing affairs on her own in his absence. Little does he know.

A few miles away down in Harlem, African American pianist Coalhouse Walker Jr. (Derrick Davis) is enjoying life with his friends and working hard on new ragtime compositions as well as his troubled relationship with his lover, Sarah (Kyrie Courter).

Meanwhile, on the lower East Side, Tateh (Zachary Prince) is a widowed artist and newly arrived Jewish immigrant from Latvia who has come to America with his daughter (Sonnie Betts) to make his fortune and give his child a better future.

But nothing in life — or in “Ragtime” — goes as smoothly as the characters hope, and these three separate worlds defined by race and class are soon on a collision course. When Mother finds a newborn Black baby buried in her garden, she takes him in and cares for him, something her husband would never approve of — but he is off at the North Pole.

Mother also agrees to shelter Sarah, the baby’s mother, and, before long, Coalhouse comes to New Rochelle in search of his young family. But this is all-white Westchester in 1906, and Coalhouse is a target of local racist Willie Conklin (Ryan M. Hunt) who harasses him and vandalizes his property. The musician’s mellow demeanor becomes tainted by rage, injustice and a thirst for revenge due to his mistreatment and lack of due process in the court system.

Meanwhile, for Tateh and his daughter, an immigrant’s life is not at all as he envisioned it would be and his initial optimism gives way to despair. After a fruitless struggle to sell his artwork on the city streets in order to feed his hungry child, he is forced to take work in a sweatshop, where the hours are long and conditions deplorable. For his part, Younger Brother recognizes the horrendous plight of the non-union workers around the country and becomes radicalized to the causes put forth by Emma Goldman at her rallies in Union Square.

Sound like the American dream? Perhaps, though it’s certainly not the one we were all taught to believe in as children. But it is, for better and worse, the American reality, and as “Ragtime” makes clear, though it’s often easier to look away from issues and strife that doesn’t conveniently fit our chosen narrative, getting involved by taking a long, hard look at society’s ills is not only necessary, in the end it can be cathartic and good for the soul — and the nation.

This is Bay Street’s largest show ever, and it’s worth noting that the production values are nothing short of astounding. The small size of the stage and the number of people on it at any given moment means that every inch of the set must function efficiently and do double or sometimes triple duty. From a staircase that folds down as needed and Evelyn Nesbit’s famous red velvet swing, which magically appears from the rafters, to the inclusion of rear projections that add vast dimension to the limited space, there is no shortage of imagination, talent and creativity at work in this show.

Then there are the musicians and actors. All of them do an amazing job, but particularly noteworthy is Derrick Davis, a compelling actor with a powerful singing voice, whose performance as Coalhouse is countered by the emotive Kyrie Courter who brings depth, passion and incredible presence to the role of Sarah. Also offering a stunning performance as Mother is Lora Lee Gayer.

Though it is set more than a century ago, “Ragtime” is a show for our era. The issues of social discontent and economic inequality raised in the musical are, unfortunately, as familiar today as they were in 1906. While we’d like to think we’ve overcome much of the discord that defined the turbulent days of the Gilded Age, it’s pretty evident from recent history that we still have a helluva long way to go. So pull up a seat and take a lesson from “Ragtime.” You’ll be glad you did.

The cast of “Ragtime” includes Kyrie Courter, Derrick Davis, Lora Lee Gayer, Zachary Prince, Daniel Jenkins, Harrison Bryan, Davon Williams, Clyde Voce, Rachel Parker, Taylor Jackson, Cathryn Wake, Victoria Huston-Elem, Ryan M. Hunt, Cecelia Ticktin, Will Hantz, Sonnie Betts and Ian Lowe and Brianna Kaleen.

The creative team on Ragtime is: Will Pomerantz (director), Christopher Grant and Lauren Grant (co-choreographers), James Bassi (musical director), Rick Sordelet (fight director), Anna Louizos (scenic designer), Hunter Kaczorowski (costume designer), Meghan O’Beirne (associate costume designer), Mike Billings (lighting designer), Dalton Hamilton (assistant lighting designer/programmer), Jon Weston (sound designer), John Millerd (associate sound designer), Brian C. Staton (projection designer), Andrew Diaz (props designer), Ryan Touhey (orchestrator), Tommy Kurzman (hair/makeup designer), James FitzSimmons (production stage manager) and Christine Catti (assistant stage manager).

“Ragtime” runs through August 28 at Bay Street Theater. For tickets, visit baystreet.org or call 631-725-9500.