By Elaine Guregian

Beacon Journal Staff Writer

(Published on Sunday, June 8, 2008)

Weathervane Community Playhouse's new production of Ragtime, the Musical exemplifies what community theater can be at its best. At opening night on Friday, the big (36-person) cast grabbed hold of the material and made a palpable connection with the audience.

The book, created by Terrence McNally, is an adaptation of E.L. Doctorow's 1975 novel. A compelling tale, it weaves together the lives of a prosperous white suburban New York City couple, an African-American couple from Harlem and father-and-daughter Jewish immigrants. Cameos by famous figures of the pre-World War I era, such as Booker T. Washington, Harry Houdini and Emma Goldman, add historic texture to the story.

The term ''epic'' truly applies, and yet the story zipped by on Friday, propelled by director Terry Burgler's clear vision and his focused, energetic cast.

The appealing ragtime score (music by Stephen Flaherty and lyrics by Lynn Ahrens) holds the show's center. Musical director John Ebner sat at an electronic keyboard at stage right, alongside a woodwind player (Sarah Korb). Across the stage, pianist Jordan Cooper played an upright piano and Mike Forfia played standup bass. For the main character of Coalhouse Walker Jr., a black ragtime pianist whose idealism brings down his own life and others around him, a concert grand is wheeled on and off-stage.

Carrying through the music theme, some players produce instruments and play them in ensemble scenes. It's a cute idea that would be more effective if only the most proficient musicians actually played. Hearing these less-than-able performances (however brief) was a rare reminder on Friday that this was an Akron community event, not professional theater.

Semblances of city bridges span the stage to create a New York setting. Dark risers allow the performers to pop up at various levels onstage, and when the whole ensemble faces forward to sing, it makes an impact. Who will forget the sight of this crowd at a baseball game, punctuating screams for the team with syncopated spitting? The scenic design by Alan Scott Ferrall, properties design by Pamela Parks Costa, mood-enhancing lighting by Buddy Taylor, sound design by Dan Jankura and attractive period costumes by Marti Coles all work in sync with Burgler's direction.

Stephanie Newport (Mother), new to Weathervane, made a terrific debut with her luxurious voice. Subtly, Newport let you see her growing disgust with her closed-minded husband (Father, played with stern confidence by Russ Harris), who sees blacks as other and lesser.

As The Son, Brandon Kline had the reined-in bearing of a well-brought-up child at the turn of the 20th century. Jason Leupold's silky singing voice enhanced his portrayal of Mother's Younger Brother.

Speaking of voices, Natasha R. Williams' sultry performance made her a vocal standout as Sarah. As Coalhouse Walker Jr., the father of Sarah's illegitimate baby, Tom C. Barnes brought conviction to the role of an African-American who longs to be treated with dignity.

One of the most touching portrayals was by Greg Emanuelson as Tateh, the Jewish immigrant who works tirelessly to support his little girl (sweetly played by Shea Lee).

Doctorow's story of social upheaval is lightened with humor. Rachel Fichter was a delight (''Whee!'' as she would say) as Evelyn Nesbit, the real-life chorus girl who was a mistress to architect Stanford White. Both moving and entertaining, Weathervane's Ragtime is a winner.
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Elaine Guregian is the Beacon Journal's music critic. She can be reached at 330-996-3574 or eguregian@thebeaconjournal.com. _______________________________________________

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