A towering achievement, the timely second revival of Ragtime sees the beloved musical emerge as the white hot hit it was always destined to be.

First appearing on Broadway in 1998 in a lavishly spectacular production that minted a host of new stars, the premiere season of Ragtime was ultimately doomed by the collapse of producing company Livent, whose manager Garth Drabinsky was later convicted of fraud. By rights, Ragtime should have played forever, becoming the USA’s answer to Les Misérables. 

Fast forward to November 2024, when New York City Center presented an acclaimed concert season of Ragtime. The timing was perfectly right for the book of Terrence McNally and score of Stephen Flaherty and Lynn Ahrens to both inspire and soothe audiences, championing racial equality and celebrating the impact of immigration whilst also lamenting the prospect that we may never be able to go “Back to Before.”

Director Leah DeBessonet has judiciously and exactingly expanded her concert production for the stage, adding further myriad details that capture the sweeping history and unique emotional heart of E. L. Doctorow’s original 1975 novel. 

Choreographer Ellenore Scott makes confident use of the grand space, crafting visually appealing patterns and characterful tableaus. 

The large cast of Ragtime is complemented by a mighty orchestra of 28 musicians under the highly capable music direction of James Moore. The music is glorious to hear, with the caveat that   although the sound design serves the principal singers perfectly well and yet ensemble singing seems to emanate from the heavens rather than from the singers on stage.

David Korins provides scenic design elements that elegantly suggest the settings and allow smooth cinematic transitions between the flowing scenes. 

The lighting design of Adam Honoré and Donald Holder serves as an iris, drawing attention into tender personal moments and then expanding to encompass action on the vast Vivian Beaumont stage. 

A large donut revolve brings to mind the momentum this brought to the original production of Les Misérables. Examples of the revolve’s clever use here include the include Sarah gliding away from Coalhouse after appearing in his fever dream and the ability to switch between both sides during the climactic siege of the Morgan Library. 

The cast of Ragtime largely carries over from the 2024 concert season. The overall success of the performance is the result of every single contribution, and the cast members all have clear passion for the work and justifiable pride at their involvement. 

A lock to win Best Actor at the 2026 Tony Awards before the season even opened, Joshua Henry continues his career best work as Coalhouse Walker, Jr., singing with gloriously sumptuous tone and portraying a journey of passion, indignity, retribution, and inspiration with compelling flair. Henry deservedly earned two mid-show standing ovations at this performance, his work also leaving many of the audience in tears. This is a performance that will be remembered for many years to come. 

Caissie Levy continues her beautiful work as Mother, expertly suggesting undertones of future emancipation whilst performing the traditional role of a woman at the time. Levy’s singing of the role is exquisite, rightfully earning extended applause for the first of the musical’s two 11 o’clock numbers, “Back to Before.”

Brandon Uranowitz continues to bring Tateh to sparkling life, clearly showing the tenacity and humanity of the noble immigrant as he survives hardship to later earn rich success. 

Colin Donnell expertly rounds out the character of Father to take him on a powerful arc from sheltered bigot to new age man. Nichelle Lewis captures the fragile vulnerability of dear Sarah; “Your Daddy’s Son” is all the more powerful for Lewis’ gorgeously gently rendition. 

Newcomer Julie Benko brings outspoken firebrand Emma Goldman to vivid life. At this performance, new company member Joe Pedersen engagingly portrayed Mother’s Younger Brother with neatly understated presence. 

Broadway at its very best, Ragtime is an absolute must-see for all serious lovers of the art form. 

Ragtime was reviewed 8pm Saturday 28 March 2026 at Vivian Beaumont Theater, New York where it plays until 2 August 2026. For tickets, click here.

Watch Joshua Henry sing “Make Them Hear You”:

Photos: Matthew Murphy