New York (AP) — It’s been nearly 30 years since Stephen Flaherty and Lynn Ahrens wrote the music and lyrics for the musical “Ragtime,” an American epic tracking the intertwining lives of three families in New York at the turn of the 20th century.
Staged at Lincoln Center’s Vivian Beaumont Theater, the musical is in its third run on Broadway — and earned 11 Tony nominations, including for best revival. It’s resonating the most with audiences this time, they said. “Three is the charm,” Ahrens said.
“When we originally did it on Broadway, which was 1998, I think a lot of people, if not most people, were thinking about this piece as a period piece,” Flaherty said. “I think now, people are responding to it as a contemporary story.”
Adapted from the 1975 novel by E.L. Doctorow, the show’s book is by the late playwright Terrence McNally. It depicts a wide swath of the American experience in New York at the turn of the 20th century, from Black Americans in Harlem to Jewish immigrants on the Lower East Side to the white upper-class residents of the suburbs of Westchester County.
The story that unfolds is fiction, but features historical figures like activist Emma Goldman, educator and leader Booker T. Washington, banker J.P. Morgan, auto founder Henry Ford and illusionist Harry Houdini. The show’s breadth — encompassing immense tragedy as well as great optimism — and the depth of the actors’ performances has been bringing Broadway audiences to their feet, often mid-act.
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It also has people returning. “They’re like, ‘I’m coming back with my parents,’ ‘I’m coming back with my grandchildren,’ ‘I’m coming back with my grandparents,’ and it’s not even like they have to see it. They want to experience it with them,” said Brandon Uranowitz, who had his own return to the show, decades after he acted as a child in the pre-Broadway production.
Now, he’s nominated for best lead actor in a musical for playing the role of Tateh, a Jewish immigrant from Latvia. “I think it’s sort of speaking to this generational reckoning that we’re having with America and our national identity.”
The original production lost the best new musical Tony Award to “The Lion King,” but Ahrens and Flaherty took home the prize for best original score, McNally best book and William David Brohn best orchestrations in a competitive year. It also won Audra McDonald, the Tonys’ most decorated performer, her first award. A 2009 revival received six nominations, but lost best revival to “La Cage aux Folles.”
This could be the year it finally wins a best show award: “Ragtime” is a front-runner for best musical revival, against strong competition from “Cats: The Jellicle Ball” and “The Rocky Horror Show.” Among its other nods are nominations for all three leads, and for featured performers Nichelle Lewis and Ben Levi Ross.
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Joshua Henry, nominated alongside his costar for best lead actor, plays Coalhouse Walker Jr., a celebrated Black pianist at the center of his community in Harlem. Caissie Levy, nominated for her role of Mother, is the matriarch of a wealthy white family in a suburb outside New York City.
A cast of supporting characters, and a large ensemble, flesh out the lead trio’s lives, relationships and eventual connections: Lewis plays Sarah, Coalhouse’s beloved; Ross is Mother’s Younger Brother and Colin Donnell her husband, Father; Shaina Taub is Goldman, the real-life activist.
Emotions in the first act peak during “Wheels of a Dream,” Lewis’ iconic duet with Henry, which draws standing ovations, mid-song, nearly every night.
“She is a person who represents women — especially women of color — who don’t have a voice, women of color who are fighting to have a voice, women of color who find strength in other ways because we weren’t allowed to have it,” Lewis said of Sarah. But above all, she said, the character represents the power of trust, love and hope as a buoying force.
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That hope is also what propels Uranowitz’s Tateh. “Despite everything he goes through, despite the rejection, despite the oppression, despite the othering, despite antisemitism,” it’s what persists.
In the song “Journey On,” his character arrives in New York with his young daughter just as Mother’s husband, Father, leaves on an expedition to the North Pole.
“You depart on a ship from a country like this,” Tateh sings, watching Father leave. “Why on Earth would you want to be leaving?” The two men are perched on separate, moving staircases on a sparsely furnished stage, but sing from the same height, emphasizing the valley between their experiences.
Like many of the characters, Father and Tateh (also “father,” in Yiddish) are nameless. The intention, Uranowitz said, is for aspects of Tateh’s journey — from immigrant artist to successful moviemaker — to reflect the experience of Jewish Americans, and to resonate with people from other backgrounds as well. “If you pan out, which ‘Ragtime’ does so beautifully, it also holds just a capital ‘I’ immigration experience. And I think that’s really important for people to see right now.”
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The musical feels so relevant to 2026 that audience members have asked director Lear deBessonet, also Tony-nominated, if the creative team rewrote the script for this production. Lyrics by Ahrens and dialogue by McNally about the discrimination and brutality that Black Americans and immigrants face can seem straight out of the current moment. There are also references to keeping the country “great,” and commentary on celebrity culture and the power of industry leaders.
But the text hasn’t changed. “We, in the audience, are hearing it differently,” deBessonet said. “There’s something that actually, I think is very unifying about coming together with a community of our time to look at this other time, and to look at the promise and the wound of America right next to each other.”
A 2027 tour, with deBessonet and the Broadway run’s creative team at the helm, will bring the show to a wider audience around the country.
“It does not feel like we’re looking back. It feels like we’re looking in a mirror at ourselves,” Flaherty said.
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There is one small change, however. When “Wheels of a Dream” is reprised in the final number, the ensemble sings “Our son will ride on the wheels of a,” and then takes a long pause before a final, resonant, “dream.” The goal is not to prescribe a particular emotional response, but to allow viewers — and the actors themselves — space for their own interpretations.
“In that moment, every single actor, every artist on that stage is invited to fill that moment with whatever feels honest to them that night,” deBessonet said. “Sometimes you can really feel that there is exuberant hope in the air. And sometimes there is grief or rage or confusion,” she added.
Ahrens said it’s been a “revelation” to see how audiences have responded to the production, before and after the 2024 presidential election — and throughout this Broadway run, which concludes on Aug. 2. “It’s such a visceral thing,” she said. “I don’t think we’ve ever experienced anything like it.”
