Ragtime (2026) (Broadway)

Ragtime may just be the best musical of the year. though it may not be the most enjoyable. Terrence McNally's adaptation is a staggering epic. It's quite the downer for 2 hours and 50 minutes. Made all the more depressing because it's realistic. It holds a mirror up to our society, like the end of Cabaret, forcing us to confront America in all its glory and mess, not just at the turn of the century but today. The show follows three families: a black community in Harlem, Jewish immigrants in the Lower East Side, and an upper-crust white family in New Rochelle. They weave in and out of each other's stories, representing the great melting pot that is America. There are real historical figures in the show, appealing to the history nerd in me. "Make Them Hear You" is sort of equivalent to "History Has Its Eyes On You" from Hamilton, making the show about the study of history itself. The melodies are lush if not exactly memorable. Joshua Henry's voice is like magic so full and deep when he sings "Sarah, come down to me" I felt goosebumps. He even has a soliloquy about his his son's future similar to Henry's rendition of Soliloquy in Carousel though I think this music suits his voice better. 

Into the Woods (2022) (Broadway)

You wouldn't have been able to tell from the Disney movie-adaptation of Into the Woods, but Stephen Sondheim's fairy-tale musical is actually raucously funny. The newest production, recently transferred to Broadway from Encores! at City Center, is extremely campy. And it works so well that it leads me to believe it was always meant to be this way. Especially in the first act, which is generally lighter in tone, the comedy is integral to the production. And even when it takes a darker turn in the second act, it's still there. The second act, by the way, is still excellent, despite being basically an entirely different show. The second act is almost a non sequitur in tone and plot. There is a beautiful moral somewhere in there about childhood and innocence and the example we set for the next generation. It just so happens to be cleverly intertwined with familiar fairy tales. 

The set is pretty bare bones, but it's made up for by some very imaginative puppetry, specifically for Milky White(!), the giant's hands and shoes, and the birds. Kennedy Kanagawa is a standout puppeteer, literally endowing emotions into the simple cow puppet. The orchestra sits on stage and Sondheim's lush melodies come through beautifully (looked like maybe a 20-piece orchestra). The songs are such that there are many one or two-liners that various characters pop onto stage to recite before exiting. The lack of set helps make that more believable. 

Standouts from the cast include Patina Miller at the top. I remember being awestruck by her Leading Player in Pippin, and she is deliriously wicked as the Witch here. Sara Bareilles has now gone full Broadway, and her voice is actually beautifully suited to Sondheim. I would've liked to see Neil Patrick Harris but I think Brian d'Arcy James made an excellent Baker too. And Phillipa Soo as Cinderella is good too (Chinese Cinderella!). Jack and Little Red Ridinghood as the child characters can really play up the camp--Julia Lester as sassy Little Red is especially funny.

PS. Morgan slept through basically the whole thing. I kept nudging her back awake and then she'd get mad at me and promptly doze back off. Shame because it was really good! At least she wasn't missing any visuals. The woman in front of me was really tall unfortunately, blocking a third of the stage.

Carousel (Broadway) (2018)

I love Carousel. I think the music is beautiful and the story as well. Seeing this now a second time, on a Broadway this time, it doesn't hold up as well as I remember. There is a lot less plot than I remember. Most of the songs are kind of filler. And the second act that I remembered being so imaginative was actually very ambiguous. There are a number of seeming plot holes. Billy doesn't actually do anything to earn his ticket into heaven. Did grown people in the early 1900s really ride carousels? Multiple times in a single day? Was carousel barker a real job? Do clam bakes always involve scavenger hunts? The costumes are appropriately ugly. It's so site-specific to New England, it's almost too bizarre. The accents were sort of all over the place. Jessie Mueller's accent was fine but she doesn't have all that many lines for a lead. I took most issue with Joshua Henry's accent, which didn't quite sound New England. I think perhaps as a whole cast, they should have made a decision to just drop the accents, cause it was kind of inconsistent. Billy Bigelow is perhaps one of the meatiest male roles in musical theater--his acting is excellent (of which there is a lot) but I do not prefer his singing. Henry's voice has a lot of heft, it's very deep. His head voice sounds like it's coming from a completely different person. If I Loved You was delightful, but I didn't love his rendition of Soliloquy. Maybe it's just one of those songs you're so used to hearing one way that when other people try to do something a little different, it doesn't sound quite right. The absolute best part of the show is Justin Peck's choreography. The dance sequences are mesmerizing. Blow High, Blow Low--one of those filler songs--is so much fun. They even forgo the eponymous carousel in order to leave space for the dancers to do their thing.

I think Amar Ramasar is fabulous as Jigger (what an awfully racist name). I think he should've gotten a Tony nomination for a role arguably bigger than Mr. Snow. Speaking of racism, there is certainly a different dynamic with an African-American Billy, making an interracial leading couple. I actually sympathize with Billy more as an African-American. Who are the characters of color? Billy, the policeman, the Starkeeper, and Jigger. That is the two "criminals" (and the wife beater), the man charged with fighting the criminals, and the God-figure/low-level-afterlife-magistrate. Make of that what you will.

The criticism most often levied against Carousel is that it condones domestic violence, but I don't read it quite the same way. I don't think it condones anything (because Billy's redemption is really ambiguous), but I do think they try to rationalize why victims of domestic abuse stay. "He's your fella and you love him" and that's about it.