CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Connecticut
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
A CurtainUp Review
The Tin Pan Alley Rag

Can’t read music but writes songs.— Irving Berlin
Tin Pan Alley Rag
Michael Boatman as Scott Joplin& Michael Therriault as Irving Berlin
(Photo: Joan Marcus)
Mark Saltzman, the author of The Tin Pan Alley Rag, has imagined a meeting between two kings of American music: Irving Berlin (1888 - 1989) and Scott Joplin (1868 - 1917). Saltzman, a writer for Sesame Street as well as for films and theatre, makes no claim that such a meeting has been documented or is known to have taken place; however he has placed the meeting within the realm of possibility. That possibility is considered quite entertainingly under the direction of Stafford Arima (Altar Boyz). It's an amiable show that is not unlike a primer on Berlin and Joplin, as well as on the circa 1911 era that was set to define American pop music. Michael Boatman as Joplin and Michael Therriault as Berlin are able to credibly personify these unique musical immortals, a primer in performance craft.

In the period prior to World War I, Berlin and Joplin were renowned and reigned supreme in their respective fields in an industry largely controlled by the music publishers along Manhattan's 28th Street. Joplin, who had cornered a portion of the pop market with his rag-time melodies, had a huge hit with "Maple Leaf Rag." Because he was classically trained he was not satisfied with his career and had a hope of being recognized for his classical compositions.

Berlin was riding high with songs such as "When the Midnight Choo-Choo Leaves for Alabam," "I Love a Piano" and his most recent super hit "Alexander's Ragtime Band." At the beginning of the 20th century the publishers' offices were beehives of musical activity churning out songs by both aspiring and established composers of popular music. In a very amusing early scene we get to meet some of the considerably less talented but always hopeful hacks as they plug and perform their tortured rhymes and formulaic melodies. Sheet music was the medium then and it made fortunes for a few like Berlin. The Tin Pan Alley Rag takes place in one of these offices, whose walls (as impressively designed by Beowulf Boritt) have a way of moving and transporting us efficiently to many other locations.

It is doubtful if the author of this sweet and sentimental diversion got his cue from German playwright Friedrich Schiller who also chose to dramatize a meeting that never happened between two queens — Elizabeth the 1st and her rival for the throne of England Mary Queen of Scotts. In the case of Berlin and Joplin, nobody's head was or is at stake. We may therefore ask, where's the conflict? The answer: Can Joplin convince Berlin to put in a good word with his publisher/partner Teddy Snyder (Michael McCormick) that might help him get his ambitious and serious folk opera Treemonisha produced? And will Berlin be able to get his head together and write some serious music?

As you might expect in a show about Berlin and Joplin, the songs are recognizable, delectable and danceable, the latter particularly graced by Liza Gennaro's rag-timed choreography. The show makes generous use of early Berlin songs, as well as Joplin's folk ballet scores as a bridge for flash-backs into their respective lives, but without the songs being consigned to defining character.

A fine supporting cast of singers and dancers often appear out of the ether to enhance a song as well as to play peripheral/multiple characters. Mark Ledbetter is standout as a vaudevillian. Think of the old bio film musicals like Words and Music and Till The Clouds Roll By where the composer sat a piano and sang his song to the rich producer or to his lover and the scene would segue to the stage of a theater or other location.

There are segues to different places and Boatman and Therriault are quite good at pretending to play the two pianos. As each is seated at a piano (the keyboards faced away from the audience), Joplin gives the less musically sophisticated Berlin a lesson in counterpoint with "Play a Simple Melody," a joyously executed duet. Michael Patrick Walker and Brian Cimmet should be credited as the accomplished but unseen pianists.

Therriault, who played Motel in the last Broadway revival of Fiddler on the Roof, is an immediately engaging and lively Berlin — to whom he bears a striking resemblance. His performance gracefully distinguishes Berlin as a man conditioned by heartbreak but consumed by a need to succeed. Boatman is better looking than the serious and impassioned Joplin, but his performance as the man who worked his way up from being an itinerate piano player in brothels to "King of Ragtime," is very fine indeed.

While these titans of early American popular music were neither rivals nor adversaries during the heyday of the now legendary Tin Pan Alley, they each had distinctly different long-term objectives. Berlin, the son of Russian-born immigrants couldn't read music but he had drive, discipline, and an incomparable talent for writing hit songs. Although recognized as the most American of pop composers, his early songs (quot;Sweet Italian Love" and "Moishe Sings an Irish Song") often capitalized on ethnic humor. There is a funny glimpse of that early part of his career with Berlin as a boastful and brash singing waiter on the lower East Side. These songs nevertheless catapulted him into the mainstream.

There is a touching moment in the play in which Berlin sits alone at the piano and attempts to complete a piece of music that would stretch his talent. We can also see how success at what he did best has its rewards. Amazingly, (and not dealt with in this play) is that Berlin was destined to write memorable musical scores for Annie Get Your Gun and Call Me Madam among others that, if not as lofty as an opera, could be said to be admirable expressions of his highest musical ability.

There is poignancy and shared-grief in the relationship between these talented men when they become aware that each has suffered a similar loss. Berlin's first wife, a vivacious Dorothy Goetz (Jenny Fellner), died suddenly from typhoid fever contracted on their honeymoon in Havana and Joplin's second wife Freddie Alexander (Idara Victor), a perky, well-educated woman with political aspirations died from pneumonia only 8 weeks after they were married.

Joplin, who suffers occasional seizures due to an advanced case of syphilis, is dead at the age of 49 in 1917. He didn't live to see the first professional production of Treemonisha by The Houston Grand Opera in 1975, a production subsequently presented on Broadway and earning a Tony nomination as well as being awarded the Pulitzer Prize in 1976. A short segment of the opera is presented in a climactic scene as an 87-year-old Berlin attends a performance. Joplin was to achieve his greatest recognition, however, when his rag time music was revived for the 1973 film The Sting. Berlin was 101 when he died in 1989.

This show is a loving tribute to the spirit of rag time and to two of the 20th century's most spirited composers. It's Off-Broadway production was preceded by one seen in January 2006, at the Maltz Jupiter Theatre in Jupiter, Fl.

There is no known family tie between the author of the play and the writer of this review.

The Tin Pan Alley Rag
  By Mark Saltzman
  Directed by Stafford Arima

Cast: Michael Boatman (Scott Joplin), Michael Therriault (Irving Berlin) and Randy Aaron, Derrick Cobey, Jenny fellner, Rosena M. Hill, James Judy, Mark Ledbetter, Michael McCormick, Erick Pinnick, Tia Speros, Idara Victor.
  Set Design: Beowulf Boritt
  Costume Design: Jess Goldstein
  Lighting Design: Howell Binkley
  Sound Design: Walter Trarbach
  Running Time: 2 hours 10 minutes including intermission
  Roundabout Theatre Company at the Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre, 111 West 46th Street (212) 719 – 1300
  Tickets ($75 & $98)
  Performances: Tuesday through Saturday evening at 7:30 PM with Wednesday, Saturday and Sunday matinees at 2 PM.
  From 6/12/09; opening 7/14/09; Closing 9/06/09
  Review by Simon Saltzman based on performance 07/09/09
REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
  • I agree with the review of The Tin Pan Alley Rag
  • I disagree with the review of The Tin Pan Alley Rag
  • The review made me eager to see The Tin Pan Alley Rag
Click on the address link E-mail: esommer@curtainup.com
Paste the highlighted text into the subject line (CTRL+ V):

Feel free to add detailed comments in the body of the email. . .also the names and emails of any friends to whom you'd like us to forward a copy of this review.

Try onlineseats.com for great seats to
Wicked
Jersey Boys
The Little Mermaid
Lion King
Shrek The Musical


South Pacific  Revival
South Pacific


In the Heights
In the Heights


Playbillyearbook
Playbill 2007-08 Yearbook


Leonard Maltin's Classic Movie Guide
Leonard Maltin's 2008 Movie Guide


broadwaynewyork.com


amazon




©Copyright 2009,

GUCCI

|

Aluminium Chronograph

|

PEAK new fashion ladies venting air spring heighten casual sport shoes P8004E

|

Tiffany & Co Hook and Eye Ring

|

mbt shoes

|

MBT Shoes

|

Tiffany&Co Daisy 925 sterling silver rings

|

Rolex

|

Louis Vuitton

|

Affliction Boots

|

Nike Shoes

|

Nike Dunk

|

MP5 Wholesale

|

Atlanta Falcons

|

Abercrombie Pants Wholesale 002

|

Louis Vuitton

|

UGG Boots Mulberry Genuine Australia classic Tall Ugg Boots

|

GUCCI Handbags

|

UGG Boots Classic Argyle Knit Chocolate 5879

|

Louis Vuitton Business Card Holder Ebony

|

MBT Men's Kisumu Tan Sandals

|

MBT Chapa

|

ugg boots

|

MBT Kisumu 2 White Men's Sandals

|

Nike Shoes

|

Louis Vuitton Monogram Denim Messenger Bag PM m95865

|

Bailey Button Uggs

|

Sexy Costume QS0169

|

Phone Wholesale

|

Bikinis Sets

|

Wholesale

|

Car DVD Player

|

LV

|

Tourbillon

|

Tiffany tiffany replica ring

|

Superleggera J12 White

|

Tiffany

|

rolex

|

Mouse Wholesale

|

Nike Air Max 2003

|

Monogram Groom

|

GUCCI

|

Wholesale

|

Nike Air Max LTD (dark blue/white) No.372340

Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com