By Joe Stead www.chicagostagestyle.com

Not even snow glaciers and sub zero temperatures can derail one of January's most anticipated events, the annual Dolphin Show at Northwestern University.  America's largest student-produced musical is always one I look forward to seeing, and this year's selection of the musical masterpiece "Ragtime" offers thrilling potential.  Based on the novel by E.L. Doctorow, the musical "Ragtime" weaves stories of three disparate American families, one white New Rochelle upper-class, one African American and one Jewish immigrant into a rich and powerful look at changing times.

Lending historical accuracy and providing dramatic context are such real-life figures as humanitarian Booker T. Washington, illusionist Harry Houdini, mogul J.P. Morgan, auto titan Henry Ford, political anarchist Emma Goldman, and vaudeville starlet Evelyn Nesbit.  The wheels of progress are turning at a furious pace and some get caught in the tread while others are able to ride the rails of success.  The dream that in America anything is possible is particularly relevant as a fresh young group of students steps up to add their vision of Doctorow, McNally, Composer Stephen Flaherty and Lyricist Lynn Ahrens' unforgettable work back to the Cahn auditorium stage.

Eight years ago I sat in this same theatre watching Light Opera Works' outstanding production of "Ragtime".  I had a very special guest with me at the time who was nearing 100 years old and who still vividly recalled the era we were watching unfold before us on the stage.  Having that historical connection made for an even more exciting theatrical experience, although the work holds up very well on its own as what I consider one of the great musical theatre pieces of the 20th Century.  Flaherty's soaring music is perfectly wedded to Ahrens' heartfelt words and McNally's sprawling but affecting narrative, which set a benchmark for musical drama.

All the pieces are in place for a truly memorable production, which this year's Dolphin Show nearly offers, with a few missing ingredients.  In the technical department, I have to say I was very disappointed with Tina Frank's multi-level scenic design, which appears needlessly busy and distracting.  Frank employs slotted wooden panels that move back and forth and window panels that descend from the flies.  Rather than providing any sense of time or place, these unnecessary elements seem to exist merely to compete with the 37 cast members on an already busy stage.

Director Michael Holtzman commendably avoids trying to replicate Chicagoan Frank Galati's iconic original production, but he should have at least taken a tip from Galati's elegant and economical sense of storytelling.  In this case, more is definitely less.  Since much of this show's dramatic arc revolves around Harlem musician turned militant Coalhouse Walker, Jr., I am sorry to report that Tommy Wells gives one of the more lackluster interpretations I have seen of this pivotal role.  Wells has a good voice, but little stage presence or connection with the character he is playing.  Where is the fire in his soul?  On opening night, he seemed to be simply going through the motions.

Beautiful Leslie Jackson fares better with a highly vulnerable and sympathetic portrayal of his tragically jilted lover Sarah.  Jesse Greenwald turns in an excellent performance as the industrious immigrant Tateh, in fact he practically steals the show.  I enjoyed the effect of the "shadow" dancers in his very touching solo, "Gliding".  Liz Olanoff does a nice job as Mother, with solid support from Matt Deitchman (Younger Brother), Michael Henry (Booker T. Washington), Andi Alhadeff (Emma Goldman) and Janna D'Ambrisi (Evelyn Nesbit).  Ms. D'Ambrisi certainly lives up to her character's claim to be the most beautiful woman in America, even without her "girl on the swing" swing.  I always cringe when I see adult actors playing children, and so it goes here.  The Dolphin Show may be an all college student production, but I don't think it would have hurt them to add a couple of real children, or to better make up the actors playing older characters for that matter.

Where this version of "Ragtime" really soars is in the vocal and especially musical department.  Music Directors Elizabeth Doran and Patrick Sulken have done an extraordinary job with a score that is nearly operatic in scope.  The 23 student musicians in the pit sound fantastic, and every note of Flaherty and Ahrens' majestic and beautiful work comes across with vibrant color.  Having seen many of the Dolphin Shows over the past decade, I truly feel blessed to experience the work of such talented students at the early stages of their careers.  Northwestern gives them the finest resources of any university in the country, and audience members should not hesitate to support their efforts.       

“Ragtime” will be presented January 21-29, 2011 at Northwestern University as the 69th Annual Dolphin Show.  This year’s Dolphin Show will be performed at 8 p.m. Saturday, January 22; 2 p.m. Sunday, January 23; 8 p.m. Friday, January 28; and 8 p.m. Saturday, January 29, at Cahn Auditorium, 600 Emerson St., on the University’s Evanston campus.  Single tickets are $25 for the general public; $20 for senior citizens and Northwestern faculty and staff; and $10 for students and children.  Tickets are available at the Pick-Staiger Concert Hall box office, by calling Pick-Staiger at (847) 467-4000 or by clicking on the “All Event Listings” followed by the “Non-School of Music Events” icons at www.pickstaiger.org.  Tickets also are available online at www.nudolphinshow.org and may be purchased at the door prior to each performance, subject to ticket availability.