Nevertheless, Ragtime achieves much, challenging us to consider who we were, as Americans, during the first two decades of this century and what, over the ensuing generations, we have become. It is likely that most audience members never feel very deeply for any one character as there are so many whose lives are woven into this epic American tapestry. Ragtime is certainly too slick and overproduced for its own good, particularly given the story’s socialist underpinnings. Ragtime’s systematic development, its enthusiastic reception in Toronto and Los Angeles, and the producer’s creation of a new Broadway theatre in which to present it, have all contributed to a critical backlash, the likes of which have not been felt on Broadway since Disney’s Beauty and the Beast premiered in 1994. Photo: Catherine Ashmore.Īlthough Ragtime made its Broadway debut on 18 January 1998, the musical has been a part of theatrical consciousness since 1995, with two public readings, a workshop production, and a CD release months before the show premiered in Toronto in December 1996 and in Los Angeles in June 1997. Ford Center for the Performing Arts, New York City. Doctorow’s Ragtime, book by Terrence McNally, music by Stephen Flaherty, lyrics by Lynn Ahrens, directed by Frank Galati.
Members of the cast in Livent’s production of E.L.
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