Asolo Rep's 'Ragtime' tells an old story that reflects a modern reality

It’s not always a particularly impressive room. Sometimes it’s four black-painted walls with a raised surface at its head. Other times it’s an ornate U-shaped lavish platform imported from Italy. But they always serve the same purpose: a safe space for honest storytelling.

Anything can happen on a stage, but when it comes to live theater, the happening is usually an attempt at conveying some truth through artistic means. In Asolo Repertory Theatre’s “Ragtime,” performers are challenged to convey a truth of the past that remains relevant today — and to do it through acting, singing and dancing.

We caught up with Asolo Rep newcomers Danyel Fulton (Sarah) and Jared Joseph (Coalhouse Walker Jr.) to learn why “Ragtime” is an important story to tell, particularly in 2018.

Why is “Ragtime” a musical you wanted to be a part of?

Fulton: It’s such a staple in musical theater. Doing it this way — this “Ragtime” is like nothing anyone has ever seen. The original was 50 and now we’re doing it with 13 people. 

Joseph: Growing up and studying at NYU, I learned there were very few opportunities for people of color to be leads in musical theater, and this is a beautiful opportunity.

What was your reaction when you heard how small the cast would be?

Fulton: Although I knew it (originally) had a lot more people, I didn’t think anything of it. We have a large responsibility, each of us, because each of us sings everything. 

Joseph: What’s beautiful about the story of “Ragtime” is it tells this American experience through different groups of people. And with a smaller company, I have to step into the story of those different groups. I can’t stay with a singular narrative. I have to be an immigrant in one scene and then a Harlemite in one scene.

Fulton: Peter (Rothstein, director) says it best when he says, “We now have a responsibility to tell each other’s stories.” I think that America needs that — whatever I can do to ignite that responsibility to be aware of each other. 

What effect do you want to have on your audiences?

Joseph: I just want to open them up and allow them to feel something, because theater is a safe space. Your feelings will lead to questions and, hopefully, your questions will lead to action. I want to connect.

Fulton: I want them to be able to see themselves onstage. And I’d love for them to leave different than they came in. I can’t make you do anything, but I only hope it can spark something for you.

Joseph: I also want them to leave with a deeper understanding of humanity. I think that’s our job to humanize these characters no matter what they do.

What kind of research did you do to prepare for this production?

Fulton: I downloaded the novel. He (author E. L. Doctorow) writes in such detail — and I’ve been researching my whole life not knowing it, just listening to the music.

Joseph: I let the script do the chiseling. I start there and I also remind myself to go back and look at history and see the patterns of it. What’s interesting about a show that tackles race and race relations is you don’t have to do too much research because it’s not so far removed. The feelings are here, they’re in me now because of the things that are still consistent in the narrative of what it means to be a brown body in this country or an immigrant in this country or a woman in this country.

So is this a good time to be doing this musical?

Fulton: Absolutely. This role particularly is not something that I can walk out of or separate myself from because unfortunately, some of Sarah’s story could be a reality for me as well, just being a black woman in America. This was written in 1975 about the early 1900s, and we’re in 2018 and it’s still as important — there’s something wrong there. I feel an immense responsibility to be an activist as an artist at this time.

Why do you think theater is a good medium for activism?

Fulton: Because we trick people! (Laughs). Not really, but people come to be entertained, and we sneak a message in there. 

Joseph: Theater is beautiful. It’s a community event and it also is so ceremonious. People say it’s their church, a church where people can gather and have a heightened experience together. If you want to feel anything, I say go to the theater.

Fulton: You may not like it.

Joseph: But it allows you to feel, and I think we need places to feel. I find that people are so emotionally clogged. And it’s an opportunity to look into someone else’s world for a moment.

How does dance fit into the storytelling?

Joseph: I don’t know how you can be colored and not have to dance and sing! (Laughs) I find that this show is really interesting because of the style of movement. It’s both heightened and grounded, and there’s something really good about how ragtime makes you move. To actually have to partner and dance face to face, it’s interesting to explore. It helps in the physicality of Cole House outside of the dance parts because I can use it in my every day.

Fulton: Prior to getting here I was like, ‘Let me do some sit-ups because I know this core needs to be together for Kelli Foster Worther!’ (Laughs) She does an amazing job of telling the story through dance. If we’re dancing, there’s a meaning for it. It’s just really fun to explore black dance.

How would you describe your characters?

Fulton:  I think Sarah is a representation of black women but black people in America as well, especially with her willingness to forgive no matter how many times she’s been done wrong. She’s able to have a perseverance and tenacity that black people have had to have ever since they were brought here.

Joseph: This story is about the revolution in the music, and Coalhouse is at the center of that music so he’s a revolutionary and I think he’s seeking agency and subjectivity and the American dream. And he wants to build a better life. I think he’s a man on a journey to evolve into a full citizen in America.

What’s been the best part of this experience?

Fulton: Being able to hear this music and sing this music every day is such a blessing. I can’t wait to see how Sarasota audiences respond.

Joseph: I’m excited by the collaboration. We’re constantly feeding off each other and that will be at the core of every night with the audience. They’re just as much a part of this show as we are. They provide that energy that we’re breathing in.

Fulton: They’re the 14th character.

Joseph: Yeah we won’t give them credit or a paycheck, but they’re paying for an experience and I know they’ll have an experience here. And I’m excited to see what that unknown energy is. The gift that only live theater can give you: an adventure.

Fulton: Oh, it will be an adventure.