RAGTIME
I actually saw this show when it debuted on Broadway in 1998 – not long after I first moved to NYC. So it was a bit trippy to see the revival which is currently previewing on Broadway.
The original Ragtime was an enormous production, notable for the fact that producer Garth Drabinsky would soon find himself in jail on fraud and forgery charges.
This production comes courtesy of DC’s Kennedy Center and is pared down in the extreme, a valid reinterpretation that unfortunately exposes the more melodramatic bones of the script. The themes are big: American capitalism at the turn of the century, the ‘immigrant/negro problem’, etc..etc… It doesn’t work quite as well as I remembered… the ’98 production left me pretty much devasated. That said, I think this mounting is still excellent and the score is just glorious – a true ‘traditional’ musical with recurring melodic themes that are weaved throughout the show and nearly impossible to get out of your head. As a non-traditionalist who prefers his musicals more Spring Awakening than Sondheim – I’m surprised by just how effective Ragtime is.
Here’s a link to a discount code in case anyone in NYC wants to check it out. http://www.broadwaybox.com/shows/ragtime_nyc_tickets.aspx
And here’s a clip from what I presume is the Tony Awards telecast of the original ’98 production. It’ll give you a good idea of what you’re in for…
SWIZZLSTICK 
I can’t believe you went — thought you were on a big anti-theatre kick these days (ha!). I’m actually going next Wednesday. Can’t wait.
OK — so I just saw this on Wednesday. I think the production is stunning — and in a way the director is the star. The staging and visual design are all stunning, and I thought the acting and storytelling were all very compelling. I think the original was probably better sung — but given the emphasis on the story this time around (which I found very refreshing), I didn’t mind at all.My one quibble (and sadly it’s a big quibble) was the sound design. The orchestra lacked the heft that I know it had (knowing those orchestrations, the quality of the players they had, and the fantastic conductor who did a great job), with no bottom end in the sound design. And in all of the big stirring moments, where the orchestration swells (which it did) and the actors go into overdrive (which they did), they actually seemed to pull the sound BACK. ARGH!!!Other than that, though, I found it very impressive.