{"id":11284,"date":"2020-01-15T16:17:14","date_gmt":"2020-01-15T16:17:14","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11284"},"modified":"2020-03-05T16:32:09","modified_gmt":"2020-03-05T16:32:09","slug":"rags-the-musical-at-park-theatre-a-moving-relevant-production-of-a-lesser-known-work","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/01\/15\/rags-the-musical-at-park-theatre-a-moving-relevant-production-of-a-lesser-known-work\/","title":{"rendered":"RAGS the Musical at Park Theatre: A Moving, Relevant Production of a Lesser (Known) Work"},"content":{"rendered":"\n

Today\u2019s show is the new production of RAGS the Musical at Park Theatre in London\u2019s Finsbury Park, playing until February 8.<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

There is nothing more incredible than when musical theatre\nshares something magical that changes my life from that point forward.\nSometimes it\u2019s a superb, gorgeous score that will forever live in my heart.\nSometimes it\u2019s a performance so magnificent it remains indelible. And then you\nhave the new production of RAGS<\/em>,\nwhich hath bequeathed upon me the most fantastic term of endearment for my\nhusband: my Shabbos goy<\/em>. <\/p>\n\n\n\n

Now it sounds like I\u2019m joking but I\u2019m so serious, this is\nthe best thing ever, and I wonder how I never before came across this perfect\nphrase for a non-Jew who comes into a Jewish household to do the prohibited\nwork (like turning on the lights) on Shabbat. I LOVE IT. No matter how I felt\nabout the rest of the show, this is what I\u2019d call a successful night at the\ntheatre. And you know husbo\u2019s happy with his new title [Ed. Note – <\/em>he is not].<\/p>\n\n\n\n

But fortunately for theatre fans in London, the new production of RAGS <\/em>at the Park Theatre is a good one, providing much more than a bit of fun with Yiddish. The tale of Jewish immigrants making a new life in 1910s America may be predictable and clich\u00e9d but it\u2019s enjoyable and ultimately moving, featuring classic immigrant struggles, good pacing, some great comic relief (sup Rachel Izen), and above all, great performances, especially from Carolyn Maitland reigning over the stage as Rebecca and an adorable Jude Muir (alternating) as her young son David. Honestly, the bones of the show itself are not that strong. It\u2019s an overall mediocre score (with highlights) and a trouble-making book if there ever was one (more infra<\/em>), with a truly unnecessary Hamlet (*cough* Haim-let) bit. But the production as a whole is strong enough to elevate the material, making this quite a successful undertaking of a show most people have written off not only as lesser known but also as less than. <\/p>\n\n\n\n

When RAGS<\/em>\npremiered on Broadway in 1986, it closed after only four (4!) performances,\nmaking it one of the most infamous flops in musical theatre history. Whether it\nwas due to the somewhat pedestrian score, the confused and overloaded book, or\njust the lack of interest, I don\u2019t know (I do know most theatregoers were still\nmaking their way to the ridiculous spectacle of Cats<\/em> that year), but it came, went, and was mostly forgotten,\nfailing to achieve what Ragtime<\/em> would\nwith a very similar story a decade later. With RAGS<\/em>, Joseph Stein set out to ostensibly write the sequel to Fiddler on the Roof<\/em> (which he also wrote\nthe book for, you knew that), imagining what would have happened next for the\nvictims of the pogroms if they made it out of the shtetl and sailed to America.\nYou can\u2019t blame him for wanting so badly to convey the emotional and dramatic\nheft of what these people would have gone through that he overfilled the story,\nbut unfortunately, he focused on the results he wanted from the audience and\nnot the means of authentically getting there. So much of RAGS <\/em>clearly demands an emotional reaction, but unlike with Fiddler<\/em>, it doesn\u2019t build up the\nnecessary world or develop characters sufficiently to reach that point as often\nas it wants to. The moments where Stein et al. wanted us to CRY are so\nblatantly demanding emotional connection, and when you demand it instead of\nearn it, you don\u2019t get it.<\/p>\n\n\n\n

In the decades since its premiere, RAGS<\/em> has been rewritten, refocused, and retooled to try to make it\nsomething worth salvaging. Now with a revised book by David Thompson, this\ncurrent incarnation may not be perfect, but it\u2019s definitely an improvement and\ndefinitely worth the effort, though there are still blatant moments where there\nmay as well be a light-up sign flashing CRY or BE MOVED (as opposed to the sign\nactually held onstage at one point that read NO DOGS NO JEWS, which is terrible\nbut made me laugh because I was like \u2018those are literally the best things on\nearth idiots, why not add NO CHOCOLATE and NO TV to it, Nazi morons\u2019). Luckily\nfor us, the performances manage to earn the desired outcome: Dave Willetts\u2019\ngrief-stricken Avram, Maitland\u2019s repeat anguish, Muir\u2019s remembered terrors \u2013\nthe performances manage to move us where the book wishes it could. <\/p>\n\n\n\n

And this revised book is HUNDO P better than the original. Not to be morbid but killing off Rebecca\u2019s husband before the story begins makes much more sense. Not saying the name of the factory where Bella goes to work is a necessity (or maybe I just didn\u2019t hear it?), because once you hear Triangle Shirtwaist Factory (which is, as we learned on Crazy Ex Girlfriend<\/em>, the favorite fire of Rebecca and Greg, which is supes dark), you been know what\u2019s going down: more than 100 factory workers died, mostly young Jewish and Italian girls so yeah, it\u2019s good they don\u2019t have her say \u201cI got a job at the TSF\u201d because then you\u2019d just be sitting there waiting for it to happen, whereas it\u2019s more of a shock (though not at all a surprise, what a gd mess industry was at this time) this way. The character of Bella is still underserved, banking on bullshirt traits like \u2018nice\u2019 and \u2018good\u2019 and \u2018pretty\u2019 instead of making a fully fleshed character, but it\u2019s improved, and Martha Kirby gives a winning performance nonetheless. And making the character of Saul now Salvatore, an Italian, (the supes charming Alex Gibson-Giorgio) pays off in several ways. I especially loved the scene of the Sabbath prayer mixed with the Italians at prayer (so well done). However, I\u2019m shocked that the proposed love affair with Rebecca never leads to any conversation or hesitation about him being a gentile (given the black hats and David\u2019s payot, I assumed they were Orthodox). It\u2019s cool to think of Rebecca as like the OG interfaith relationship proponent (does my fam bam have her to thank?) but it would need some shoring up in the story, or like, any commentary at all. <\/p>\n\n\n\n

Best of all, moving the one SPECTACULAR song in the score,\n\u201cChildren of the Wind\u201d, from early on to now the very end is a genius move,\nbecause that\u2019s what we remember. Charles Strouse\u2019s music suffers from the blahs\nfor some of this show but this is where he comes through. (Though it\u2019s Stephen\nSchwartz\u2019s lyrics that felt surprisingly pedestrian (surprising, I guess, when\nmy favorites from Pippin<\/em> and Wicked<\/em> are in the forefront of my mind;\nnot so much when you remember much of Godspell<\/em>\nor \u201cSomething bad is happening in Oz\/something bad\/happening in Oz\u201d (I\u2019m sorry\nno one has a perfect track record.))) I don\u2019t know how Maitland has any voice\nleft in the show to deliver this final number (espesh after shouting at Avram,\nwhich seems mean I mean he\u2019s grieving) but she does and it\u2019s worth seeing the\nshow for this moment alone. This song is a sweeping, gorgeous summary of why\nthis tale keeps feeling so necessary and so relevant. As an American, I was\ncrushed to realize just how little progress we\u2019ve made in welcoming immigrants\n(and, you know, Nazis are in power), and as a Brit (heyoo that\u2019s right) I was\ndepressed to consider how this country is also falling down the idiot slide of\nblaming immigrants and Jews for its problems. But as a Jew, this song was a\nrevelation: I don\u2019t consider myself a Zionist and I definitely don\u2019t approve of\nNetanyahu\u2019s government, but wow if this song isn\u2019t the best explanation for why\nJewish people feel the need to have a land that is truly and safely theirs. I\nget it. I don\u2019t understand how anyone could hear this song or watch this show\nand not<\/em> get it \u2013 for any minority \u2013\nwhich is a testament to the power of theatre. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

INFORMATION<\/strong><\/p>\n\n\n\n

RAGS<\/em> plays at the\nPark Theatre until February 8.<\/p>\n\n\n\n

The Park Theatre was designed by, to quote Lewis Black, a\nguy with scoliosis who is really forking pissed. At least in the circle (just\ntwo rows! Not a bad seat in the house, really, view-wise), the seats are all\nlove seats (for two) and there is no leg room, so the entire row has to like,\nexit the area for anyone to move down it. It felt like sitting on a high bar\nstool for 2 \u00bd hours (complete with the inability to reach my purse on the\nfloor). I think it\u2019s a new theatre too so like, what? How!<\/p>\n\n\n\n

The circle bathrooms are upstairs in the bar, 3 stalls for\nladies. RUN BITCHES. <\/p>\n","protected":false},"excerpt":{"rendered":"

Today\u2019s show is the new production of RAGS the Musical at Park Theatre in London\u2019s Finsbury Park, playing until February 8. 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