On the eve of the 21st century, Angelenos were privileged to witness the 1997 American debut of this epic musical, a panoramic glance back at our melting-pot nation's turbulent journey of cultural assimilation, with an optimistic look toward the future. As helmed by director Frank Galati (in Toronto, L.A., New York, and on national tour), Livent's musical adaptation of E.L. Doctorow's sweeping novel surged with operatic power, notable as much for its greatness as for its revitalization of an ailing genre. What a relief to confirm that the virtues of this classic-to-be can indeed flourish beyond Galati's seemingly definitive vision.
Though this West Coast regional premiere seems intent on not reinventing the wheel, director Kathy Brombacher's interpretation never elicits a sense of misplaced reverence. The scaled-down physical design captures the gloriously picturesque feel of the original staging. Listing no local set or costume designers, the playbill credits Eugene Lee and Santo Loquasto, respectively, of the original production. Graciela Daniele's staging of the musical sequences is gracefully recreated by Paul David Bryant. Steven Young provides a superb array of atmospheric lighting effects. Despite a few amplification glitches on opening night, the outdoor stage is a marvelous venue for large-scale musicals.
It's the performances that put an individual stamp on this production, fueled by splendid voices and solid characterizations. Lance Roberts plays womanizing musician Coalhouse Walker Jr. as quite a playful scamp in the early scenes, different from Brian Stokes Mitchell's more stately interpretation. Roberts' approach enhances Coalhouse's journey from hopeful dreamer to embittered vigilante. The spirited Brian Michael Purcell also finds more humor than we've previously seen in the role of Mother's Younger Brother, whose concerns switch from youthful lust for femme-fatale performer Evelyn Nesbit (delightfully played by Michelle Lane) to ruthless political activism. As Coalhouse's wife Sarah, the radiant Jennifer Shelton creates such an empathetic doomed heroine that the first-act finale seems more heart-wrenching than ever.
Victoria Strong's performance as Mother is feisty and vibrant, suggesting the beginnings of feminism, as she stands up to Father (played in an appropriately unsympathetic manner by Robert Alan Clink). Strong's delivery of the showstopping 11 o'clock ballad "Back to Before" is a knockout. Eric Anderson's Jewish immigrant Tateh bristles with energy, crisp humor, and poignancy. Among other notable characterizations are Katie Wilson's fiery radical Emma Goldman, Steve Glaudini's slippery Houdini, and the enchanting work of child actors Jacob Haren and Alexa Bergman as the cross-cultural stepsiblings.
The lush and evocative score by Stephen Flaherty (music) and Lynn Ahrens (lyrics), a genuine masterpiece, is exquisitely served by Elan McMahan's musical direction, with Ken Gammie conducting. Terrence McNally's judicious and deft weaving of Doctorow's tome into a literate, fleet-footed tapestry represents this playwright's most accomplished book-writing effort to date. Under a glistening summer sky in this charmingly nostalgic venue, this under-appreciated show exudes an aura of musical theatre nirvana. Is it too late to rescind The Lion King's inexplicable Best Musical Tony?
"Ragtime, The Musical," presented by Moonlight Stage Productions at Moonlight Amphitheatre, 1200 Vale Terrace Drive, Vista. Wed.-Sun. 8 p.m. Aug. 28-Sept. 8. $12-26. (760) 724-2110.