Reviewing Theatre For Over 40 Years
Tag Archives: Cheyene Omani
By design or by accident several local theater companies have offered up seasons including classic shows which address very, very current issues. One such is the Candlelight Pavilion Dinner Theater where, and not for the first time in this last calendar year, they are producing something powerfully relevant while also being impressively entertaining.
Indeed, their recently opened production of Terrence McNally, Stephen Flaherty and Lynn Ahrens’ musical “Ragtime,” based on E.L.Doctorow’s award-winning novel, finds the setting of Candlelight Pavilion an advantage. Originally over-produced, this less overblown presentation allows what works in the show to shine through. And in times like these, the messages it has to offer prove particularly important.
The story of both novel and musical centers around three distinct groups of people, the African-American musical scene of Harlem centered around ragtime musician Colehouse Walker, the upscale white suburbanites defined by Mother, and the eastern European refugees focused on an Ashkenazi Jew from Latvia. As their stories bump into each other, and into the famous names of their New York, the layers of hardship and privilege, of racial stereotyping and artistic creativity, of injustice and promise intertwine in ways which prove both tragic and enriching. It is a disturbing mirror for anyone watching today, as many of its concerns are still uncomfortably present.
What makes “Ragtime” work is the richness of the music, and the genuineness of the characters most central to the tale. At Candlelight, the company’s largest-ever cast includes several remarkable performances which make this all happen. Standouts include strong, intensely focused and deeply heartfelt performance of Trance Thompson as Colehouse, balanced by the sincerity of Jessica Mason as Sarah, the mother of his child. Christianna Rowader gives a balance of empathy and frustration to Mother – a woman coming into her own at a time when society had already defined her place. In this she is aided by young Andrew Bar, articulate and interesting as Mother’s Little Boy.
As Tateh, Allen Everman evokes a quiet desperation while Orlando Montes and Cheyene Omani play with the characters of two of the era’s most colorful personas: magician Harry Houdini and scandalous Evelyn Nesbit. All of these are backed by a strikingly good ensemble who supply major figures of the time, and create the world in which these people move, and sing the show’s powerful songs. Most notable is RaShonda Johnson, whose dirge for the dead Sarah becomes one of the evening’s standout moments.
But, although the ending is frankly overly hopeful, “Ragtime” is worth seeing at this time in history because of what it shows us in our past: racial injustice and the historic grounding for Black distrust of institutions, marginalization and squalor as experienced by those who immigrated to this country during that time (and who we now know laid the groundwork for much of its success), and the myopia of traditional power structures intent on turning back the clock to a “safer” place. It is a warning, and it is a rich hope for a world where we can, indeed, look back on these stories as from a time which we have finally outgrown.
What: “Ragtime” When: through February 24, doors open for dinner at 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and for matinees at 11 a.m. Saturdays and Sundays Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $63-$78 adults, $30-$35 for children 12 and under, meal inclusive Info: (909) 626-1254, ext. 1 or http://www.candlelightpavilion.com