![]() Fulton's portrayal of Sarah, the mother of Coalhouse’s child, is so terrific that when she is shot, I was so upset that she might not have any more musical numbers. ![]() ![]() Markowitz makes singing some of the most challenging songs in the production look easy, but never leaves her character for the song. As are the performances of Mother (Courtney Markowitz) and Sarah (Danyel Fulton). From the ragtime reminiscent of Scott Joplin, to the gospel-like music of political discontent, to the wistful ballads of hope and loss, his powerful voice is unforgettable. What a pleasure it is to hear Ezekiel Andrew as Coalhouse Walker, Jr., a performer who truly has the range. I loved watching all the reconfigurations.īut in front of every marvelous backdrop for a musical, there must be stars on the stage, and this show delivers in a big way. Somehow, the use of moveable stairs serves as part of the settings for a wealthy home in New Rochelle, a deck for incoming immigrants, a dancehall, a club, a firehouse-well, every scene. ![]() Aiding with the winning combinations of costumes, characters, and their scenes are the highly efficient set designs of Kevin Depinet. Instead, the movement dovetails with Brad Haak’s excellent musical direction, which includes some of the best numbers I have seen in musical theater. The dancing is captivating, and never lapses into a dance recital inserted into the drama. It’s all spot-on even as the drama progresses, which is an impressive way to mark the passage of time.ĭirected and choreographed by the superlative Marcia Milgrom Dodge, this production purrs like a well-oiled machine. From the formality of an upper-crust family living in New Rochelle, New York, to the immigrant Jews from Latvia, to the African Americans driving the musical trajectory of the beginning decades of the 20th century, these costumes ring true. But let’s start with the costume design by Santo Losquato, which is perfect. ![]()
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