Ragtime

There are two occasions when it becomes difficult to write a review. The first is when the production values are nil and the other is when they are outstanding. Luckily, the newly-mounted production of "Ragtime" at Actor's Playhouse falls into the latter category. It is no exaggeration to say this show is Broadway caliber; from the lighting to the costumes, acting, singing and orchestra Actor's Playhouse nails all the details.

Tim Bennett's set resembles a New Orleans two-story hotel, complete with wrought iron railings and faux marble fa�ade. There are no less than six separate entrances and exits to the stage. The props and furniture pieces are skeletal structures; there are mere outlines of cars and pianos, for example, and yet they work inasmuch as they are light and see through, never competing with the actors and their magnificent costumes. There is also a revolving platform that works especially well when it rotates the cast 180 degrees into full view of the audience. Black and white projections on screen also add to the visual impact.

The costumes, by Ellis Tillman, dress the stage as well as the forty or so actors wearing them. The color palette, from all white and pastels to rich vibrant reds and greens and finally earthy tones of brown, helps to tell the emerging story onstage.

The lighting is also evocative and echoes the changing moods in the music. Credit lighting designer Patrick Tennent with the subtle changes that enhance the performances.

The story revolves round three distinct groups in America circa 1900. The first, represented by a middle class family in New Rochelle, are Euro-Americans long established in the country. The next are the Afro-Americans, who have been here for just as long but have also been denied the freedom to participate fully in the American way of life. The last group is comprised of immigrants trying to adjust to the American way of life. The one-two punch of racial tension and immigration makes the story timely and resonant.

As the unwed mother, Sarah, Sarah Nicole Batts sings a beautiful lament entitled "Your Father's Son" that is emotionally stirring and bittersweet. Don Juan Seward II plays her lover, Coalhouse Walker, Jr. with charm and strength. His indignation over the injustice he must suffer because he is black and living in a racist society is as palpable as his grief when he mourns Sarah's loss. For sheer joy the production number that is most entertaining is "Gettin' Ready Rag" sung by Seward and the black ensemble.

Other noteworthy performances are turned by: Tally Sessions as the immigrant, Melissa Minyard as the compassionate white mother, Irene Adjan as firebrand Emma Goldman, Ken Clement as industrialist J.P. Morgan and Gabriel Zenone as automobile guru Henry Ford.

The orchestra supporting the actors and under the direction of David Nagy uplifts their performances. The small musical touches are also appreciated.

Director Davis Arisco has found the perfect cast and the perfect vehicle for his south Florida audience. His pacing and addition of small delicate touches make this play worth a trip to the Mircale Mile.

"Ragtime" through February 22 at Actor's Playhouse, 280 Miracle Mile in Coral Gables. For tickets or information call 305-444-09293 or visit www.actorsplayhouse.org.