Is this daring revival of Ragtime on Broadway a powerful reminder of America's unfinished dreams, or is it reigniting painful conversations we thought we'd moved past? Dive in, because the opening night buzz is electric, and the critics are pulling no punches!
The Verdict is out, and audiences are flocking to see what Joshua Henry, Caissie Levy, Brandon Uranowitz, and Nichelle Lewis bring to director Lear deBessonet's fresh take on the Ahrens and Flaherty musical. Opening night struck a chord on October 16 at Broadway's Vivian Beaumont Theatre, with reviewers weighing in right away. Take a peek at the roundup of opinions below. Previews kicked off on September 26, and shows are running through January 4, 2026. Freshly installed as LCT Artistic Director, Lear deBessonet helmed this production during a brief stint last year at New York City Center, and now it's hitting the big stage.
Leading the charge are Joshua Henry as the determined Coalhouse Walker, Jr., Caissie Levy embodying the resilient Mother, and Brandon Uranowitz as the ambitious Tateh. Colin Donnell, fresh from Anything Goes, plays Father, while Nichelle Lewis (from The Wiz) tackles Sarah, Ben Levi Ross (Dear Evan Hansen) portrays Mother's Younger Brother, Shaina Taub (Suffs) channels Emma Goldman, John Clay III (New York, New York) steps in as Booker T. Washington, and Rodd Cyrus (The Light in the Piazza) mesmerizes as Harry Houdini—all reprising their roles from the City Center run. New faces on Broadway include Anna Grace Barlow as the captivating Evelyn Nesbit, Nick Barrington as The Little Boy, and Tabitha Lawing as The Little Girl.
The talented ensemble boasts Nicholas Barrón, Lauren Blackman, Allison Blackwell, Briana Carlson-Goodman, Jordan Chin, Billy Cohen, Rheaume Crenshaw, Charity Angél Dawson, Ellie Fishman, Jason Forbach, Ta’Nika Gibson, David Jennings, Kaleb Johnson, Marina Kondo, Morgan Marcell, Kane Emmanuel Miller, Tom Nelis, Kent Overshown, Kayla Pecchioni, John Rapson, Deandre Sevon, Jacob Keith Watson, and Alan Wiggins. Backstage, swings and understudies like Eean Sherrod Cochran, Kerry Conte, Nick Gaswirth, Jackson Parker Gill, Jenny Mollet, Matthew Scott, and Ellie May Sennett ensure the show runs smoothly. Casting was handled by The Telsey Office's Craig Burns.
And here's where it gets really intriguing—check out these reviews, each offering a unique lens on whether this revival captures the heartbeat of early 20th-century America or falls short in today's context:
- 1 Minute Critic (Matthew Wexler): A quick take on the revival's energy.
- amNY (Matt Windman): Exploring how Ragtime echoes divided America with a defiant tune.
- America Magazine (Rob Weinert-Kendt): Delving into the tragically incomplete vision of a just multiracial America.
- CitiTour NYC (Brian Scott Lipton): A tourist's eye on the Broadway spectacle.
- Culture Sauce (Thom Geier): Savoring the musical's Broadway return.
- Daily Beast (Tim Teeman): Calling it a staggering, stunning triumph.
- DC Theater Arts (Deb Miller): An epic for the ages at Lincoln Center.
- Deadline (Greg Evans): Hollywood's take on the revival's impact.
- Entertainment Weekly (Shania Russell): EW's spin on Joshua Henry's powerhouse performance.
- Exeunt NYC (Lane Williamson): A close look at the Beaumont Theatre staging.
- New York Post (Johnny Oleksinski): The Post's verdict on the show's heart.
- New York Magazine/Vulture (Jackson McHenry): Vulture's dissection of the production.
- New York Stage Review (Melissa Rose Bernardo and Roma Torre): Heartbreaking and triumphant takes for our era.
- New York Theater (Jonathan Mandell): A deep dive into the Broadway experience.
- New York Theatre Guide (Joe Dziemianowicz): Guiding you through the review.
- The New York Times (Laura Collins-Hughes): The Gray Lady's thoughtful critique (may need a free account or subscription).
- NY Daily News (Chris Jones): Jones on Joshua Henry and Caissie Levy's chemistry.
- TheaterMania (Zachary Stewart): Broadway at its finest?
- Time Out NY (Adam Feldman): A timeout to reflect on Doctorow's adaptation.
- Variety (Frank Rizzo): Hollywood Reporter's broad view.
- The Wall Street Journal (Charles Isherwood): A stirring American panorama (subscription might be required).
- The Washington Post (Naveen Kumar): The Post's examination of the revival (possible paywall).
*Note: Some reviews could ask for a free account or paid subscription to access.
We'll keep this list fresh as more feedback rolls in.
Behind the scenes, the magic comes from Ellenore Scott's choreography, David Korins' set design, Linda Cho's costumes, Adam Honoré's lighting, Kai Harada's sound, 59 Studio's projections, and Tom Watson's hair and wigs. Music director James Moore leads a robust 28-piece orchestra with William David Brohn's original orchestrations and Flaherty's vocal arrangements. Ann James serves as sensitivity specialist, and Cody Renard Richard is the production stage manager.
For beginners, Ragtime is a groundbreaking musical based on E.L. Doctorow's novel, weaving real historical figures with fictional characters to paint a vivid picture of New York City at the turn of the 20th century. With book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, it follows Coalhouse Walker, Jr., a Black man who purchases a Model T Ford, sparking a series of events that ripple through all strata of society. Think encounters with illusionist Harry Houdini, mogul Henry Ford, socialite Evelyn Nesbit, activist Booker T. Washington, architect Stanford White, radical Emma Goldman, a Jewish immigrant who rises to direct films, and a privileged white family in New Rochelle. It's a tapestry of race, ambition, and change—perfect for sparking discussions on America's past and present.
But here's where it gets controversial: Does this revival truly honor the complexities of multiracial America, or does it gloss over the 'tragically incomplete' ideals as one critic put it? And this is the part most people miss—the way it blends fact and fiction might challenge our views on history versus storytelling. For instance, some might argue it's a timely call for unity, while others see it as a reminder of systemic flaws that persist.
READ: Behind the Scenes of Broadway’s Ragtime—an Oral History
This LCT production partners with producers Tom Kirdahy, Kevin Ryan, Robert Greenblatt, and Lamar Richardson.
Grab your tickets here.
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Photos: Ragtime on Broadway
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What do you think—does Ragtime's revival hit the mark in addressing America's racial divides, or is it just another nostalgic trip? Share your thoughts in the comments: Agree that it's a triumph, or disagree that it goes far enough? Let's talk!
