‘Ragtime’: Real Drama in a Very Real Musical

When “Ragtime” received its U.S. premiere in Century City in 1997, it was produced in high style by Livent. But Livent is now dead, in part because of profligate spending.

Fortunately, however, “Ragtime” lives. The touring version at Orange County Performing Arts Center, produced by SFX Theatrical Group, has shorn some of the show’s earlier scenic splendor and lacks some of the original’s star quality, but “Ragtime” still offers a more invigorating workout for both the brain and the heart than any other musical of the ‘90s.

With E.L. Doctorow’s novel as its source, the show’s cerebral appeal was hardly unexpected. The material covers a wide swath of American culture in the first years of the 20th century, reminding us that many of the issues then are still with us. The narrative combines three fictional strands and adds a sprinkling of portraits of real-life celebrities from that era.

The musical’s critics seemed unhappy that the tone of the show didn’t remain strictly cerebral and ironic--which is to say, in musical theater terms, dry. They complained that Terrence McNally’s book, Stephen Flaherty’s music and Lynn Ahrens’ lyrics have too many big emotional moments, too many anthems, too much juice.

For those of us who are moved by those moments, and mesmerized by the strange twists and turns of Doctorow’s original stories, these complaints make no sense. “Ragtime” not only attempts to do more than 10 average musicals combined, but it succeeds to a remarkable extent. To dismiss it as a “pageant”--one of the words that has been hung around its neck--is to miss the show’s drive, its humor, its power. The stage version of “Titanic” is a mere pageant (set in the same era), but “Ragtime” is real drama.

Look at the “New Music” scene. Two family reunions occur within the same room. For the suburbanites, the meeting confirms a deep schism; for the poorer couple, it’s the joyful end of an even deeper split. It’s complicated--and so masterfully written that it always plays like a grand slam.

As Coalhouse, the ragtime pianist who becomes a revolutionary, Lawrence Hamilton may lack the distinctive charisma and the seductive vocal stylings of the original’s Brian Stokes Mitchell, but his elastic features are easily adaptable to Coalhouse’s wide range of moods. Lovena Fox breaks hearts as Sarah, the mother who initially abandons her baby. Cathy Wydner is an exemplar of emerging strength as Mother, and Stephen Zinnato’s exceptionally clear and evocative voice makes even Father a little more sympathetic.

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Jim Corti has the right scrappy quality as the immigrant Tateh, Sam Samuelson is an amusing bantam cock as Mother’s Younger Brother, and Mary Gutzi is a vigorous Emma Goldman. Eric Olson’s Harry Houdini is too callow, but he lacks the opportunity to wow the audience that the Houdini character had in the original.

The choral ranks are reduced, which is most noticeable in a riot scene. The stage itself appears smaller. J.P. Morgan’s confrontation with the rabble isn’t as visually striking. But these are quibbles, especially for those who didn’t see the original. This may be your last chance to see “Ragtime” in this area for quite a while, so don’t let quibbles deter you.

* “Ragtime,” Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Tuesdays-Saturdays, 8 p.m.; Sundays, 7:30 p.m.; Saturdays-Sundays, 2 p.m. Ends Sept. 24. $28.50-$62.50. (714) 740-7878, (213) 365-3500). Running time: 2 hours, 55 minutes.

Lawrence Hamilton: Coalhouse Walker

Cathy Wydner: Mother

Stephen Zinnato: Father

Lovena Fox: Sarah

Jim Corti: Tateh

Sam Samuelson: Mother’s Younger Brother

Mary Gutzi: Emma Goldman

Jacqueline Bayne: Evelyn Nesbit

Eric Olson: Harry Houdini

Leon Williams: Booker T. Washington

Ricky Ashley: The Little Boy

Remy Zaken: The Little Girl

Al Bundonis/Dick Decareau/Paul Avedisian: Willie Conklin

Produced by SFX. Book by Terrence McNally. Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Directed by Frank Galati. Musical staging by Graciela Daniele. Sets by Eugene Lee. Costumes by Santo Loquasto. Lighting by Jules Fisher and Peggy Eisenhauer. Sound by Jonathan Deans. Orchestrations by William David Brohn. Musical director Sheilah Walker. Production stage manager Lois Griffing.