![]() ![]() Doctorow, before being turned into a musical in 1996 with music by Stephen Flaherty and lyrics by Lynn Ahrens, known for their work together on musicals such as Once on This Island, Seussical and Rocky – The Musical. ![]() Washington, Evelyn Nesbit, Stanford White, Emma Goldman and Henry Ford. The fictional lives of our trio of characters soon begin to dramatically weave together, both with each other, as well as historical figures of the time such as JP Morgan, Harry Houdini, Booker T. The musical tells the tale of three disparate groups of society in America, all bound together with their belief and desire to find a better tomorrow.Ĭoalhouse Walker Jr is an African American musician from Harlem, while Mother and her upper-middle class white family living in the New Rochelle suburbs, and Tateh is a Jewish immigrant from Latvia who has travelled to America with his daughter in the hope of discovering not only a new land, but also a new life. Set in the early 1900s in New York, great change is afoot with excitement in the air as a new century and even a whole new era is coming into focus. The Charing Cross Theatre’s 2016 programme of musical revivals had already reached great critical acclaim with their production of Titanic, with Ragtime having become yet another one of their many much anticipated revival musicals, such as Death Takes a Holiday and Radio Times.Īnita Louise Combe ( Gypsy, Chicago) starred alongside Earl Carpenter ( Phantom of the Opera, Les Miserables) in this exciting new actor-musician production, which will also featured Valerie Cutko ( Grand Hotel), Cavin Cornwall ( Jesus Christ Superstar) and Ako Mitchell ( Grey Gardens). “Denk’s agenda… was a wonderful riposte to those relentlessly conventional programs that traffic largely in canon favorites.The much loved tale of early 20th century New York returns to London’s West End in a brand new production of Ragtime staged at the Charing Cross Theatre, with performances having ran from 8th October 2016, and an official opening on 17th October 2016, the show continued until 10th December 2016. “Denk’s playing of this glorius psatiche was all energy and mischievous glee,” wrote The Boston Globe following Denk’s performance of the program in early April. “For me, it’s about telling the tale and making it work,” he said. But the pieces are linked together in their rhythmic spontaneity. “Our bodies condition us to expect such regularity through biological rhythms.” But syncopation works against those rhythms, taking the audience off-balance.Īnd that’s exactly what Denk (the “thinking person’s pianist”) hopes to do with the program, which he brings to Kalamazoo on May 3.įrom Schubert’s difficult “Wandererfantasie” to Stravinsky’s modernist “Piano Rag Music” to Paul Hindemith’s “Ragtime” (which Denk describes as a “player piano gone mad”), the program is certainly off beat. ![]() “The basic idea all comes down to foiling expectations of regularity, of accent and stress,” writes The Seattle Times. Audiences around the country are surprised and delighted to hear Jeremy Denk’s current program of Bach’s Third English Suite, Schubert’s “Wandererfantasie,” and – between the two – seven ragtime (or ragtime-related) works that the MacArthur “Genius” Grant winner calls “an exploration of the joy and wit of syncopation.” ![]()
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