The immigrants danced in circles with hands above their heads and arms bent at right angles, recognizable as eastern-european Jewish dances. The African Americans used jazz hands and kicks. The white upperclass moved very little, remaining poised, stiff and formal. Their dances were choreographed to the cultures they represented. The upperclass in white, with women carrying parasols and wearing large hats the African Americans in warm colors with smaller hats the immigrants in grey and black with caps for the men and scarves over the heads of the women. The three groups are separated by costume and choreography. Grandfather’s grumpy comments routinely got laughs. Her frequently cowering Younger Brother (Donald Coggin) lives with her, her son, and his Grandfather (Bob Marcus). Mother (Kate Turner) introduces the house as her domain, but her husband leaves with a prominent explorer soon after the show begins. Each character is presented and their plots started, but thinks seem to move slowly in the world of explanation, not action. The first act is long, and feels as if a continual introduction. “In 1902, Father built a house,” he began. The Little Boy left the adults on the stairs to curiously approach the piano, then came forward to address the audience. A gentleman in a copper colored suit played piano centerstage. The three main social groups in “Ragtime” were represented: the wealthy white people on the stairs, above everyone else and facing the audience, the African Americans in a line down one side, the immigrants facing them down the other. The staircases acted as the majority of the set, creating balconies, levels, and the rails of a ship. The screen lifted to reveal two staircases set end to end. He explained the historical importance of both the fictional and historical figures in the production, which audience members found beneficial to understanding the complex narrative. The audience in the café were not familiar with the book. Rabe had seen the original production on Broadway three times, and spoke of its luxury in plot and orchestration. Prior to the show, Stan Rabe spoke in the Celebrity Café. An experienced Iowan would tell you that those clouds meant a storm was brewing somewhere, an ominous description for the plot of “Ragtime: the Musical.” A screen of puffy, building clouds over blue sky hid the stage as the audience filled the lower level of Stephens Auditorium on Thursday night.
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