RAGTIME SOARS AT GOODSPEED IN TIMELY PRODUCTION
By Kiersten Bjork (May 15, 2025)
Ragtime, currently playing at Goodspeed Musicals through June 15, is an absolute triumph. If the thunderous standing ovation at the conclusion of the performance is any indication, Goodspeed has a hit on their hands. With a book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, Ragtime is based on the novel of the same name by E. L. Doctorow. Original orchestrations are by William David Brohn, with additional orchestrations by Kim Scharnberg. The production is directed by Christopher D. Betts, with Sara Edwards as choreographer, Adam Souza as music director, Kelsey Rainwater as intimacy consultant and fight director, and Jennifer Scapetis-Tycer as dialect coach. From the very first moments, Ragtime is a show that immediately grabs your attention and holds it fast, daring you to look away from the heartwrenching story set to an absolutely stunning score. Produced within Goodspeed’s intimate performance space in particular, the production practically bursts off the stage. The pure power and sound of the large company surrounds the audience from all sides in a soaring rendition of this timely piece. The direction is very strong, infusing the show with dynamic, intentional choices that elevate the story. The choreography builds further layers into the storytelling, with one of my favorite moments being the tap in “Henry Ford.” Across the board, Ragtime at Goodspeed is an impressive rendition of a powerful story that makes a particularly strong impact in today’s current climate. Featuring iconic songs such as “Wheels of a Dream” and “Make Them Hear You,” it’s a show that you won’t soon forget.
Ragtime, currently playing at Goodspeed Musicals through June 15, is an absolute triumph. If the thunderous standing ovation at the conclusion of the performance is any indication, Goodspeed has a hit on their hands. With a book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, Ragtime is based on the novel of the same name by E. L. Doctorow. Original orchestrations are by William David Brohn, with additional orchestrations by Kim Scharnberg. The production is directed by Christopher D. Betts, with Sara Edwards as choreographer, Adam Souza as music director, Kelsey Rainwater as intimacy consultant and fight director, and Jennifer Scapetis-Tycer as dialect coach. From the very first moments, Ragtime is a show that immediately grabs your attention and holds it fast, daring you to look away from the heartwrenching story set to an absolutely stunning score. Produced within Goodspeed’s intimate performance space in particular, the production practically bursts off the stage. The pure power and sound of the large company surrounds the audience from all sides in a soaring rendition of this timely piece. The direction is very strong, infusing the show with dynamic, intentional choices that elevate the story. The choreography builds further layers into the storytelling, with one of my favorite moments being the tap in “Henry Ford.” Across the board, Ragtime at Goodspeed is an impressive rendition of a powerful story that makes a particularly strong impact in today’s current climate. Featuring iconic songs such as “Wheels of a Dream” and “Make Them Hear You,” it’s a show that you won’t soon forget.
The company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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The company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Ragtime is set in the early 1900s and focuses on three different families from three different worlds. Mother, Father, Mother’s Younger Brother, Grandfather, and Little Boy are an affluent, white family from New Rochelle. Coalhouse Walker Jr. is a Black man in love with Sarah, who has a new baby. Tateh and his daughter Little Girl are Jewish immigrants from Latvia coming to America to find a better life. A work of historical fiction, Ragtime brings to light the explosive racial tensions of the era, that unfortunately, are all too familiar today. Set against the backdrop of the rapidly changing world around them, with the likes of historical figures such as Henry Ford, J.P. Morgan, Evelyn Nesbit, Harry Houdini, Booker T. Washington, and more filling out the story, Ragtime is a musical that speaks to the truth of America and to the human experience, both then and now. Goodspeed’s production brings that story to soaring new heights with a talented company, beautiful design, and excellent direction.
Matt Wall, Michael Wordly, and the company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Sofie Nesanelis, David R. Gordon, and Blair Goldberg in Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Mamie Paris returns to Goodspeed in the role of Mother, following her turn as Edwin Drood last season. Paris is wonderful in this track, both in voice and overall performance. Her journey from obedient wife to fierce protector is layered and powerful, bringing the audience along with a carefully curated and well-executed portrayal of the role.
Father is played by Edward Watts. Watts explores the initially self-assured Father with excellent nuance, delivering a meaningful rendition of the patriarch of the family as he navigates the shifting landscape around him. His relationship with Paris is well-played, and I enjoyed their interactions most in the latter half of the show as their characters experience their growing rift.
Behr Marshall’s portrayal of Mother’s Younger Brother is a favorite of mine in this production. He balances the youthful energy and depth of pain that the character exudes with great skill. The passion he exhibits is moving, and his work in “The Night That Goldman Spoke at Union Square” and “He Wanted to Say” is wonderful.
Little Boy is played by Sawyer Delaney, who does solid work in the role, though at times spoke a bit too quickly and became hard to understand. Stephen Tewksbury plays Grandfather and Willie Conklin, both of which are excellent displays of character work. Tewksbury is funny as the crotchety Grandfather, and he then turns on a dime and horrifies the audience as the gruff, racist Conklin, both roles making a distinct mark in the world of the show with strong, specific physical and vocal choices.
Michael Wordly is a standout as Coalhouse Walker Jr. from the moment he enters. Wordly commands the room in every scene and captures the eye any time he is on stage. “Make Them Hear You” is my favorite song from Ragtime and Wordly sings with such passion that the audience was incredibly moved. Wordly has a rich voice that he wields with impressive skill, his tone soft and sweet yet bold and powerful.
Opposite Wordly is Brennyn Lark as Sarah. Lark is absolutely breathtaking in this role. From the very first notes of “Your Daddy’s Son,” the audience was immediately captivated by her phenomenal vocals and intense stage presence. Lark and Wordly play off of each other beautifully, and I particularly loved their intimate rendition of “Sarah Brown Eyes” in Act II.
Young Coalhouse Walker III is played by Tiye Soleil, who has a great stage presence in their few moments in the spotlight. Shaunice Maudlyn Alexander plays Sarah’s friend, who has the audience in tears with her stunning vocals on “Till We Reach That Day.”
Father is played by Edward Watts. Watts explores the initially self-assured Father with excellent nuance, delivering a meaningful rendition of the patriarch of the family as he navigates the shifting landscape around him. His relationship with Paris is well-played, and I enjoyed their interactions most in the latter half of the show as their characters experience their growing rift.
Behr Marshall’s portrayal of Mother’s Younger Brother is a favorite of mine in this production. He balances the youthful energy and depth of pain that the character exudes with great skill. The passion he exhibits is moving, and his work in “The Night That Goldman Spoke at Union Square” and “He Wanted to Say” is wonderful.
Little Boy is played by Sawyer Delaney, who does solid work in the role, though at times spoke a bit too quickly and became hard to understand. Stephen Tewksbury plays Grandfather and Willie Conklin, both of which are excellent displays of character work. Tewksbury is funny as the crotchety Grandfather, and he then turns on a dime and horrifies the audience as the gruff, racist Conklin, both roles making a distinct mark in the world of the show with strong, specific physical and vocal choices.
Michael Wordly is a standout as Coalhouse Walker Jr. from the moment he enters. Wordly commands the room in every scene and captures the eye any time he is on stage. “Make Them Hear You” is my favorite song from Ragtime and Wordly sings with such passion that the audience was incredibly moved. Wordly has a rich voice that he wields with impressive skill, his tone soft and sweet yet bold and powerful.
Opposite Wordly is Brennyn Lark as Sarah. Lark is absolutely breathtaking in this role. From the very first notes of “Your Daddy’s Son,” the audience was immediately captivated by her phenomenal vocals and intense stage presence. Lark and Wordly play off of each other beautifully, and I particularly loved their intimate rendition of “Sarah Brown Eyes” in Act II.
Young Coalhouse Walker III is played by Tiye Soleil, who has a great stage presence in their few moments in the spotlight. Shaunice Maudlyn Alexander plays Sarah’s friend, who has the audience in tears with her stunning vocals on “Till We Reach That Day.”
Behr Marshall, Edward Watts, Mamie Parris, Sawyer Delaney, and Stephen Tewksbury in Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Michael Wordly with Denver Andre Taylor and Shaunice Maudlyn Alexander in Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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David R. Gordon gives a powerhouse performance as Tateh. Gordon delivers 1000% each and every moment that he is on stage, and it in turn elevates the interactions that he shares with each scene partner. He pours a vibrant passion into each line, whether spoken or sung, and you can feel Tateh’s experiences on a whole new level with Gordon’s dedication to the role. His performance in “Success” particularly struck me. Tateh’s daughter, Little Girl, is played by Sofie Nesanelis, who is lovely. She earnestly follows Gordon about the stage, delivering the necessary intensity in the earlier parts of the show before allowing a glowing joy to shine through later.
Blair Goldberg plays the revolutionary Emma Goldman with spunk. She speaks with a vehemence that is palpable, and her work in “The Night That Goldman Spoke at Union Square” and “He Wanted to Say” stand out in particular. Denver Andre Taylor portrays Booker T. Washington with a soft sincerity, carrying his cause and pleading with Coalhouse Walker Jr. in a powerful display of control and poise.
Jonathan Cobrda is a delightful Harry Houdini, and I enjoyed seeing where he might pop up next in the theatre. J.P. Morgan and Henry Ford are played by Tommy Betz and Matt Wall, respectively, and each give very solid performances in their roles. Mia Gerachis is quite funny as Evelyn Nesbit, dancing in and out of scenes with a giddy exclamation that had the audience chuckling on numerous occasions.
Rounding out the company are Jordan Alexander (fight captain), Mia Bergstrom, Jodi Bluestein, Yophi Adia Bost, Jalyn Crosby, Joseph Fierberg (dance captain), Nathan Haltiwanger, Jeremiah Valentino Porter, and Rory Shirley, with Henry H. Miller and Xavier Turner as swings. Robin Louise Miller is the understudy for Little Boy/Little Girl.
Blair Goldberg plays the revolutionary Emma Goldman with spunk. She speaks with a vehemence that is palpable, and her work in “The Night That Goldman Spoke at Union Square” and “He Wanted to Say” stand out in particular. Denver Andre Taylor portrays Booker T. Washington with a soft sincerity, carrying his cause and pleading with Coalhouse Walker Jr. in a powerful display of control and poise.
Jonathan Cobrda is a delightful Harry Houdini, and I enjoyed seeing where he might pop up next in the theatre. J.P. Morgan and Henry Ford are played by Tommy Betz and Matt Wall, respectively, and each give very solid performances in their roles. Mia Gerachis is quite funny as Evelyn Nesbit, dancing in and out of scenes with a giddy exclamation that had the audience chuckling on numerous occasions.
Rounding out the company are Jordan Alexander (fight captain), Mia Bergstrom, Jodi Bluestein, Yophi Adia Bost, Jalyn Crosby, Joseph Fierberg (dance captain), Nathan Haltiwanger, Jeremiah Valentino Porter, and Rory Shirley, with Henry H. Miller and Xavier Turner as swings. Robin Louise Miller is the understudy for Little Boy/Little Girl.
Mia Gerachis and the company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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The company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Scenic design by Emmie Finckel strongly establishes the world of the production. Utilizing a steel and stone-based visual that evokes the industry of the time period, Finckel frames the space nicely and provides an upper level that is well utilized. Different pieces are set and struck to add to the different locations, but much of the stage is typically open to allow for the large company size and involved choreography.
Lighting designer Charlie Morrison bathes the production in a range of colors and moods via light, adding that extra layer of visual storytelling to elevate the narrative. I particularly enjoyed the use of color on the upstage cyc, as well as the effects employed for the various gunshots and explosions.
Sound design by Jay Hilton is very effective. The show is well-balanced, and the effects used are integrated seamlessly.
Costumes by designer Stephanie Bahniuk are gorgeous. With such a large company, it is always particularly impressive when each and every costume, from principals to the ensemble roles present for only a single moment, are absolutely stunning. Bahniuk and team are to be commended for the incredible pieces on display in this show. Likewise, wig, hair, and makeup design by Tenel Dorsey are beautiful.
Lighting designer Charlie Morrison bathes the production in a range of colors and moods via light, adding that extra layer of visual storytelling to elevate the narrative. I particularly enjoyed the use of color on the upstage cyc, as well as the effects employed for the various gunshots and explosions.
Sound design by Jay Hilton is very effective. The show is well-balanced, and the effects used are integrated seamlessly.
Costumes by designer Stephanie Bahniuk are gorgeous. With such a large company, it is always particularly impressive when each and every costume, from principals to the ensemble roles present for only a single moment, are absolutely stunning. Bahniuk and team are to be commended for the incredible pieces on display in this show. Likewise, wig, hair, and makeup design by Tenel Dorsey are beautiful.
Behr Marshall, Blair Goldberg, and the company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Jeremiah Valentino Porter, Rory Shirley, Jalyn Crosby, Jordan Alexander, and the company of Ragtime at Goodspeed Musicals, 2025 (Diane Sobolewski)
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Ragtime is a riveting musical that is brought to life with great success at Goodspeed. I encourage you to take advantage of this impressive production in an intimate performance space before it closes. Catch Ragtime at Goodspeed Musicals now through June 15!
Ragtime plays April 25-June 15, 2025, at Goodspeed Musicals in East Haddam, CT. Learn more and purchase tickets at goodspeed.org/shows/ragtime or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Ragtime plays April 25-June 15, 2025, at Goodspeed Musicals in East Haddam, CT. Learn more and purchase tickets at goodspeed.org/shows/ragtime or by calling the Box Office at (860) 873-8668.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.