Scott Wood's 2005 DCT Ragtime Production Journal

Rehearsal Day 1, July 25, 2005

Welcome to Scott's DCT Ragtime Diary. Tonight was the first time we had the entire cast together. Well, mostly the entire cast. Our Coalhouse, Tateh's Daughter, and a few other named roles were missing (or yet to be assigned if it was a featured role). It was great to meet the other players in the show. This (not surprisingly - as the show itself requires it) is a very diverse cast. It is obvious there is some very strong talent. The cast almost numbers 50 - so after most recently having done a show with 7 people, this will be a definite change for me. The level of excitement was extremely high. We had a 'read-through' of the first act - and sang numbers along with the Broadway CD. There were definitely moments during the read-through that I had to stop and remind myself that we were finally here. Yes, this is just a community theatre production (and frankly as high as my theatre aspirations go). But I am expecting the production to more than just exceed expectations of the audience. I'm getting goose bumps in rehearsal already, and we haven't really even developed our characters yet, nor have we even touched the tip of the iceberg as far as developing chemistry goes. So I'm anxious to see us all progress as a 'single unit of disparate groups!' That should make more sense once you get to see the show.

- Scott Wood (Father)

Rehearsal Day 2, July 26, 2005

Well tonight was the second rehearsal for Ragtime. It's amazing the see the energy and enthusiasm that everyone brings. For some people, including myself, this is a show we have always dreamed of being a part of. For others, I think they realize now, after the read through what an amazing production this is. I feel so honored to be taking part in it. The staff is amazing! They are all unique, but very good at what they do. I have only worked with Jeanenne (Co-Director) in one other show, but already she has shown us how passionate she is about the production. Mildred (Co-Director) is very gifted and I know she has worked hard, and will continue to do so. Jeremiah (Vocal Coach) is new to DCT. While we were rehearsing the opening number tonight, I could tell that I am going to learn a lot from him. He is very easy to work with, so I'm excited. Jordan's choreography will be fantastic I'm sure! He's so gifted and is an amazing dancer. I know that all of us together are going to help produce a show that will touch people's hearts. I want them to leave the theatre thinking, "That was community theatre?" I truly think that after seeing everyone's drive and passion at the read-throughs, we will not settle for anything less than our best. As a team we want this to be successful and portray the story as real as possible. I am very excited to really get into rehearsals and character study. Before we know it, it will be show time!

- Libby Sherman (Evelyn Nesbit / Dance Captain)

Rehearsal Day 3, July 27, 2005

Well, we're out of the gates and running. Had vocal rehearsal with our musical director and began the task of teaching the first of one million steps required to make Jordan's vision a reality. What an awesome task. This also brought to life the reality of how much work goes into making a musical happen. As Harlem waited, and waited, and waited, New Rochelle learned the proper way to hold and maneuver a parasol and just the right placement of one's hands on one's lapel. Oh the poor immigrants, they waited longer than Harlem. Finally, it's our turn. Wow, we whirl through our quick part of the opening number. Jordan makes sure we are moving appropriately for our time period (no hoochie coochie girls, please). Before I know it, it's 11 pm and this ole girl is spent. What a rich cast of characters and awesome vision from the production crew. Ragtime is our history, our present moment, and our future. Rich, diverse, tense, and when you squint your eyes and let it all melt together, a beautiful tapestry with priceless value.

- Treva M McFadden (Sarah's Friend & Harlem Chorus)

Rehearsal Day 4, July 28, 2005

Whoa, Wow, or Whew! Not sure which one. Perhaps all three describe tonight. I was reminded yesterday and today why musicals are so much more draining to rehearse for than straight plays - choreography! Being ‘blocked’ into a scene with 4, 5, or even 6 other actors is a pretty simple task. Being choreographed into a scene with 40 other actors is a nightmare no matter how good the cast and choreographer are. The opening number of Ragtime, which introduces the audience to almost every named character in the show, is a 9 ½ minute extravaganza. I have no doubt that once we open, this scene will be incredibly well received by our audiences. But the preparation is sometimes boring, sometimes grueling, and for non-dancers like myself, very frustrating. You don’t teach me to dance. You teach me to move without interrupting the others’ dancing. The last two nights seemed to accomplish that very well. After about 6 hours of actual work, Jordan finished blocking the number. In many ways, tonight we still just had one group of actors stumbling through random blocking. In 6 weeks, through music, lyrics, attitude, and movement, the audience will meet a high-class wealthy family from New Rochelle (also the TV home of fictional characters Rob and Laura Petrie); a poor but boisterous and soulful group of people from Harlem; and immigrants practically fresh off of Ellis Island hoping to live the American dream. But whoa, wow, or whew: no matter how you slice it, we have now blocked the first number!!!

- Scott Wood (Father)

Rehearsal Day 6, August 2, 2005

Tonight I was faced with the challenge of teaching an entire dance number in less than two hours. Because we were slightly behind schedule we had to move through "Crime of the Century" very quickly. I was so proud of the entire group. they worked so hard, and the scene doesn't look bad at all! It still needs lots of work but I'm sure that it will turn out great in the end. If every one keeps up the hard work this show will be amazing!

- Jordan Nuckels (Choreographer)

Hello! Here we are into week two of what I think is going to be just an amazing, amazing, moving production of Ragtime. Tonight was so much fun for me! Jordan started choreographing "Crime of the Century" in which I get to participate! I was cast as a chorine in that number and I love it!!! The choreography is so perfect and fun! Four of us girls get to dance on ladders…I know it sounds odd, but it is just brilliant! I love seeing so many minds come together to create this great picture on the stage. So far, I am most impressed by the willingness of everyone to come together to tell this great story. I had never seen or heard Ragtime before the first read-through, so it was difficult for me to visualize the outcome. Now I feel that the final product is going to be so incredible! I love this show and I love the cast!!

- Kathryn (New Rochelle Chorus / Chorine)

Rehearsal Day 9, August 5, 2005

Wow. Never believe one who says dreams can't come true. I am living a dream that is unfolding each night of rehearsal. From the first time I heard the Ragtime CD in 1998 through the number of times I've had the opportunity to see the show, my love and respect for the story and the music that tells it has deepened and intensified into a passion for this --Ragtime - The Musical. And what a thrill to share this experience with my two "best-buddy-Ragtime-geeks," Scott and Eric, as well as so many other old and new "theatre friends." It's gonna be a great ride--many, many hours and so much work, but it's already "happenin'." When Tateh was asked tonight to sell his little girl and then questioned why God had brought him to America, the "land of success," my "Younger Brother" Justin and I, watching from the house, were overwhelmed with the emotion of the scene. I think it was one of the first times they've even run that scene, but it was already "happenin." Then as I watched the chorus diligently working to learn the tedious, synchronized, sometimes arduous moves of "Henry Ford," I got chills thinking about where all that practice will lead or "what this (chorus) is moving toward" --that one day soon, they will all work and move together as one well-oiled machine and all "keep moving in one direction" and absolutely wow their audiences night after night with that number. What a great start these two weeks have been as we've begun this ride-- on the wheels of our dream!

- Pat Sherman (Mother)

Rehearsal Day 11, August 9, 2005

Most Broadway shows have one, or at most two, numbers that could be considered 'show-stoppers.' With Ragtime, the list can barely be narrowed to six. Tonight we worked on one of those: the Act I finale, 'Till We Reach That Day.' Sitting in tonight's rehearsal, it was very easy to think that Lynn Ahrens and Stephen Flaherty wrote the song with Treva McFadden in mind! 'Till We Reach That Day' is an amazing number with an emotional gospel solo backed up by a swelling chorus, and Treva will no doubt bring down the house when she performs this number as 'Sarah's Friend'. This song gives quite a strong statement about equality and injustice - and does so in a rousing fashion. But there are really just two things I think the cast needs to do in order to be successful with this number: 1) Get through it without crying, and 2) Get through it without smiling because we were successful at making the audience feel it enough to cry. This is an absolutely amazing number, with a strong chorus backing up an incredible solo by Treva. The emotional swell at the end of the number (and consequently, the end of Act I) should give the audience a lot to discuss and consider at intermission. For me, tonight was a huge success, in that I wasn't sure if my character would be on stage during this number. Now that I know that he will be, I can't wait to run it again! And once we have reached opening night, I think the audience will be equally thankful that they were able to experience it. 'Let the new day dawn...'

- Scott Wood (Father)

Rehearsal Day 12, August 10, 2005

SPOILER ALERT
Tonight was a discovery night for me at rehearsal. As Tateh, It didn't hit me just how pivotal the role actually was until we were staging the epilogue. Tateh takes the place of Father by Mother's side with the little boy, little girl, and Coalhouse Walker, III. Wow, I had feelings of awe and joy when we turned and traveled up stage to take our place as the 'newly formed' family, as Jordan put it. I can only imagine the emotion I will be feeling - as will the audience - the moment that little Coalhouse makes his entrance and the show comes to a close. We have an amazing piece of theatre to put before the public. With our incredible directors, Jeanneane, Mildred, Jordan, Jeremiah, Ray, and the entire cast and crew, we will certainly create an experience that the Denton theatre-going audience has not seen on the 'Campus' stage in a long time. If ever!!
END - SPOILER ALERT

- Eric Ryan (Tateh)

Coalhouse demands..................Tonight was very wild to me; just to be able to hear how we sound singing together was already amazing. But last night when we reviewed "Till We Reach That Day" it brought chills down my spine. Then, after many times of falling down to the ground, we finally got "Henry Ford" down. "Speed up the belt, speed up the belt, Sam." We started to learn the music to "Getting Ready Rag" and "New Music" . I cant wait until Thursday so the Harlem Chorus can dance to "Getting Ready Rag." Yaaaaaahhhhhooooooo!!!!! The Epilogue (end) is very touching and I just adore it. Having performed this before, I already knew it was a great play; and that's why I wanted to do it again. But when I saw how good the actors are and how well we click, I knew that this time it was going to be a whole lot better. I love the crew and I love the cast its really like one big mixed and oversized family, and you know what???? I love every minute of it! "Now listen to that ragtime!"

- Ke'Shauna "Mickey" McGee (Harlem Chorus / Dancer)

Rehearsal Day 14, August 12, 2005

Wow! So far this is pretty cool! I guess I should say who I am shouldn't I? My name is Kyle and I'm part of the New Rochelle Chorus and have a few lines as a reporter and fireman. Tonight's rehearsal is definitely more laid back than the others, and I was called to learn the "What a Game!" positions. It's really cool. It's the only comic relief in Act II, so it's going to be pretty good. Lot's of spitting. Father, however doesn't get to join in on the fun you could say. Ha! So anyways, I can already see what progress the company is making. It'll be quite a show!

- Kyle McDaniel (New Rochelle Chorus / Fireman / Reporter)

Three weeks of rehearsals are now in the books. We've blocked most of the musical numbers - and in Ragtime, that means a very large portion of the show is at least set. We have one more night to choreograph the remaining numbers, then we begin digging into the dialogue more heavily. After a long search, we add Coalhouse Walker, Jr. to the cast on Monday. As a cast, we'll have to be extremely supportive of our new cast member in order to help bring him up speed on three arduous weeks of work. As actors, we all would like to be at the stage where everything is set, we're all off book (everything is memorized) and scenes run smoothly. But with seven weeks until we open, things are certainly progressing nicely. Tonight we also had a first - an actual piece of the set is up. The Campus Theatre has another production going up in two weeks - so the only set piece that can be there now is one that both shows will share. Luckily, that set piece was one we'll use in "What a Game!" so we were able to rehearse with a bit more certainty as to spacing than normal. Looking forward to a restful weekend before things heat up again on Monday.

- Scott Wood (Father)

Rehearsal Day 15, August 15, 2005

Tonight's rehearsal was out of the ordinary. I arrived late, as usual, because I had to work...but today was my last day on the job since I start school tomorrow, so that is AWESOME! Anyhoo--- so Jordan was working with the Harlem Chorus on "Gettin' Ready Rag" and Whitney Hennan was working with some of the New Rochelle Chorus on "Atlantic City"---I'm in New Rochelle, so I went into the lobby with the rest of the group. We got a LOT done!!! I mean, we always do, but tonight was less stressful and we were all rested and in a great mood!!! My partner, Michael and I did so good! I'm proud of us. WOOT WOOT! And Whitney Hennen, SHE DID WONDERFUL teaching us! After that, we went and watched Harlem do their number, and I am telling you...IT'S GONNA ROCK THE HOUSE!!! The entire show is!!! I wish I could be in "Gettin' Ready Rag"---the choreography rocks...all thanks to Jordan! He is awesome and I love him and will miss him dearly...he is leaving for college tomorrow and tonight was his last night with us on the show! We had a little party for him. It makes me sad that he is leaving, but I know he is going off to MAKE IT IN THIS WORLD! He has so much talent, and he loves to perform and to share his love for theater with as many people as possible! God bless you, Jordan! I have enjoyed knowing him for all these years, and I hope he and I get to work together again soon!. So then we ran through a bunch of the show numbers...the opening..."Crime of the Century"...through the end of act one. But, I must say that the joy of the evening was when the guys did their "Baseball" number. It was so hilarious! I cackled! So did everyone in the audience! The community is going to love this show!!! Also, the man that plays Coalhouse was at rehearsal tonight. It was great to have him here. He is amazingly talented, just like the rest of the cast, and he is going to add even more to this wonderful experience. I am so psyched! This is my first show with the community, and it has been such a blessing so far. I know it will only continue to grow in AMAZINGNESS!!!--- I don't think that is a word... So, as you can see, I am so excited to be in this show! Thanks to everyone for all the great memories so far and yet to come! Thanks, Scott, for asking me to do this! And thanks to everyone for being so nice to me and making me feel welcome!

- Whitney West (New Rochelle Chorus)

Rehearsal Day 16, August 16, 2005

This was a particularly odd rehearsal, for the sole reason that our schedule has finally changed from DANCE DANCE DANCE to something more subdued. I couldn't be happier myself as dance is not my most exceptional talent (although I can do "the robot" so well that it would make Styx proud... "Domo arigato, Mr. Roboto" – I know, I'm cool). We blocked the first few scenes, and I am already sure that my performance as "policeman" is going to steal the show. The simple brouhahas of saying good-bye to Father; Tateh and the little girl's introduction; Evelyn's rejection of Younger Brother's advances; and the discovery of the "Negro child" run smoothly and quickly across the stage, pausing only for the occasional obtrusive dance number and/or song. Everything looks marvelous, especially the scenes that do not include those of us holding our behemoth scripts and clambering across the stage with them. Still, it's going to be an amazing show. I am simply dumbfounded at the amount of talent every cast member has.

- David McFarlane (Willie Conklin, Harry K. Thaw, Policeman, Baseball fan, etc.)

Rehearsal Day 17, August 17, 2005

Rehearsal tonight went really well!! I was so excited to FINALLY run through "Your Daddy's Son" on stage… it went… well… it went. I am so glad that Ed (Coalhouse) is a part of the Ragtime family… I really enjoy working with him. My only request… CHORUS…YOU SING WHEN OFF STAGE!!! SO SING!!!! : ) (That's a playful request!!) You all are doing "fantabulous"! "New Music" is such a gorgeous song and I thought we all performed it very well!!! (WOOOOHOOOOO! GO MOTHER, FATHER, BROTHER, COALHOUSE, AND… OH, ME!) I love how everyone in the show has been working together in order to get the work done BUT still keep it all in fun. David… you are a great police officer… keep it rough! : ) Much love to Mama Abney for making me practice my "graceful" run into Coalhouse's arms for "New Music!" by show #1… I will be a GAZELLE. I just wanted to cry but maybe not! Great work everyone… this show is going to be AMAZING!!!!!!!!!!!!

- Darnyelle Jones (Sarah)

Rehearsal Day 18, August 18, 2005

For a show this rich in history, social commentary, and "American" culture, the sound design just about begs for it's own entry in the Cast of Characters section of the playbill. It almost has a life of its own. Luckily I'm a history buff AND a glutton for punishment! The show really relies on the sound effects to complete the picture of such important plot points as the destruction of Coalhouse's Model T, the firehouse bombings, and the violence that seems to follow in the wake of Coalhouse and his followers. Most of the sounds were pretty easy to locate or create...explosions, gunfire, wind, rain, thunder, trolley bells, etc. One in particular gave me fits in this day and age though...a Model T starting up and driving off. Nowhere on the Internet could I find what I needed. The 50+ compact discs of the BBC Sound Effects Library I have were bereft of the sounds I needed. So I set off to get the sound from the horse's mouth. A co-worker of my Father's happened to have a Model T that he was restoring and luckily it ran! I grabbed a mini-disc recorder from school and recorded the sound firsthand. It was a great experience. I'll have to manipulate it a bit to recreate the hand crank starting that was necessary back with the car was new (this car had an electric starter), but the engine sound is perfect for what I needed. August 30th is the first time sound will be used at rehearsal, and I am very anxious to see how it all stacks up. Some of the timing is very precise. For instance, the part where Conklin and his boys destroy the Model T is not only timed with dialog, but with the orchestra as well. Louis will nail it perfectly, I am sure. Continued "Good Show" everybody!!!!!!!!

- Chris Campbell (Sound Designer)

We hit a milestone in tonight's rehearsal: we ran the entire first act for the first time. Well, there are still a couple of wholes to fill regarding some blocking...some reworking of blocking, and of course the changes that will naturally occur once we have the entire set to work with. But all in all, it was nice to run through the act a full six weeks before we open. After four weeks of hectic rehearsing, the entire cast has next week off. A few of our cast members will be rehearsing for a one-weekend show that will take place at the Campus Theatre next weekend, but for most of us; this week will provide some needed R&R before the final 5-week push leading up to our opening and two week run. During this off-week, several principal characters will be meeting with Jeremiah for vocal coaching and/or Mildred and Jeannene for character coaching. This should provide us some relaxed time to have our vocal and character performances enhanced and fine tuned. Since there are no formal cast rehearsals this week, look for week five journal entries to resume after our August 29th rehearsal. "Be safe; God bless America; and God bless each and every one of us!"

- Scott Wood (Father)

Rehearsal Day 19, August 29, 2005

Today was our first day back from being off for a week. I personally didn't know what to do with myself this past week. I missed rehearsal and seeing the cast. It was good to see them all again. We worked hard on the first half of the first act, and we went over the music intensely for about 2 hours. We are starting to blend well, and things are really starting to come together musically. We also ran the first act as far as we could before rehearsal was over. we got a little over half way there, and after having a week off I was very impressed as to how people had retained the blocking and dance numbers. We had a good time and we have a pretty long road ahead of us but its going to be a fun one. During our week off I got a chance to work with one of the directors on my character, and I feel like I'm really starting to get his attitude and persona - if you will. Its kind of hard to play an actually historical character because you need to make him recognizable to people. I am well on my way and I feel like people will know who I am before I say it. Anyway things are going very well, and things are only going to get better, I cant wait till we open. Hope to see you all there.

- Seth (Houdini, Conductor, Immigrant Chorus)

Rehearsal Day 20, August 30, 2005

While all of us are amateur actors, there is still a need and a desire to create a professional-quality show. Theatre in Denton has earned a reputation for high-quality productions - and with the grand project ahead of us that we call Ragtime - the expectations are even higher than normal. Tonight started off on a less than positive note. We have had several cast members leave the show in the last few weeks. In a production of this magnitude - with what is truly an ensemble cast - those types of departures can be hugely deflating. In addition to those who have left the cast, we have had times (as all shows do) where cast members tend to get lax about arriving on time and devoting total focus to each rehearsal. So as we began rehearsal tonight, Mildred provided a much needed kick in the pants to us all. We each are committed to making this an amazing show. And it doesn't begin when we first have an audience. It begins when we first take the stage and we start to shape and sculpt our characters. It requires us to work during free time during our 'normal life.' It requires us to be in character in the wings of the stage - not just on it. It requires us to put our focus on the production above everything except God, country, family, and the bill-paying job! Denton Community Theatre has invested what I would guess to be more than $20,000 for the production of this show. As actors, its our duty and privilege to give back at least the equivalent of that in talent, ability, and dedication. After our 30-minute 'talking to,' we proceeded to have a very strong (and grueling) rehearsal. We cleaned up quite a few rough spots in the first act, and will continue doing the same on Wednesday. I think 'grueling' is the best word to describe the next 4 weeks of rehearsal. We've got high goals for this show. But we all left tonight with a renewed focus to making this production outstanding...and doing our best to blur the line between amateur and professional for those who are lucky enough to see this show!

- Scott Wood (Father)

Rehearsal Day 21, August 31, 2005

Ok, I am getting a bit weary. I think we all are. But hearing Miss Treva at the end of last night's rehearsal is enough to make us all want to come back for more!!! God Bless that woman and her amazing pipes!! Will we ever get through Act 1??? It is exciting to see each scene pull together step by step. The cast worked their tails off on Schtezle and Henry Ford....oh and Gettin' Ready Rag. The company looks amazing. Henry Ford was restaged and the chorus did a fab job!!! Eric (Tateh) and I ran lines and have some work ahead of us as far as blocking. I am really enjoying working with Eric. He is so talented and a terrific support. Props to Eric Ryan!!! I want to personally thank Ed (Coalhouse) for his hard work and I hope he is having a good time. I persuaded Ed to audition for Ragtime with NO musical theatre experience. (Ed, you are doing a fantastic job!!! You are a delight to watch on Gettin' Ready Rag. I love it! Not to mention the voice. WHOOHOO!) I am excited to get back tonight and be "committed" (as MAP would say). I just adore each and every one of my fellow cast members. WHAT A TALENTED CAST!!!!

- Suzanne Lewis (Emma Goldman)

Rehearsal Day 22, September 1, 2005

Rehearsals are becoming tedious now. We wait, we work. We work HARD! We wait some more. However, it will be worth all the hard work and waiting. We just get stronger, and stronger, with each passing day of rehearsal. Tonight was no exception; we began the evening working the "Henry Ford" dance, which I believe has now been curtailed to accommodate Coalhouse's Model T. At about 8:35pm, we began working the "Nothing Like the City" number, with me (Tateh), Pat (Mother), Kenton (Little Boy), and Emily (Little Girl). This is such a nice little piece of music. The kids have the hardest parts to sing, with the most patter, and syncopation. Pat and I are just fluff for the number. I really believe that Lynn and Steve (Ahrens and Flaherty) put this in the show to show off those kids! And they NEED to be shown off, because Kenton and Emily both are such bright, well behaved kids. They're smart and have no problems working through the hard stuff. After we were done with that number, Darnyelle worked on her scene a bit, and we began working "Tateh at the Loom", "Union Square" and "Gliding". <Sigh> What a technically challenging part of the show!! A pantomimed loom, a riot, a train, whew! I will be glad to get through that one each night. We are now on the downside of the hill to opening, yet it will actually seem we are still chugging along UPHILL, especially during tech week. It will ALL pay off. We are going to have a glorious show that will be remembered for many years to come in the community! Many thanks to Brad Speck for stepping in and saving Grandfather (Brad is taking on the role after the original actor left the show)! I'm sure he will have no problem being 'thoroughly irritated by everything'!

- Eric Ryan (Tateh)

Rehearsal Day 23, September 2, 2005

The Harlem Chorus worked (to near perfection) 'Gettin' Ready Rag' tonight. Dance captains Libby and Whitney spent a couple of hours working the group till people were about to drop. But the number is looking fabulous. Our Coalhouse is really starting to take on the role as well...and in the immortal words of Paula Abdul "make it his own!" Other than 'Gettin' Ready Rag', we focused on a few scenes with some of the principles. The biggest addition tonight was that of the staircase to one of the main forward platforms. This particular platform is particularly important to me, as Father uses it as a ship in the second number of the show. We'll have this weekend off before picking things back up on Monday. If I'm not mistaken, this is our last weekend off until the show is over...so we'd all better enjoy it!

- Scott Wood (Father)

SUNDAY SPECIAL
No, we didn't have rehearsal on Sunday this week. However, I finally had a chance to watch the movie Ragtime (sorry it took me so long, Seth!) Although it is quite true to Doctorow's novel, there are a number of differences in the movie and the musical. I now have a greater appreciation for Terrence McNally's book and Flaherty's and Ahren's lyrics and music. Although the power and passion of the story are certainly in the movie, that power and passion just have an extra punch (gotta love alliteration) that I feel is only possible through music. After working on sub-texts this weekend, I can't wait to get back to rehearsal. Personally, I am delighted to "labor" through rehearsal on Labor Day. Three days away from these characters is too long for me. On Monday, we'll start work on Act 2. Whoa, that'll be some heavy stuff and I look forward to all of our digging in to it. Gee, Scott (Father) sorry about how it's all gonna end up. "I shall miss you!"

- Pat Sherman (Mother)

Rehearsal Day 24, September 5, 2005

Somewhere in the Campus Theater there's a mad crowd working. And working on an explosive musical. Can I say I'm excited? HOO HA! It's been too long since I've done a production this big. I've always hated having to memorize so much in such a little amount of time. I think the thing that makes this one easier is the fact that the group makes it so much fun. I agree so much with Seth that I missed my time with my 'family' the week we didn't have rehearsal. The one overwhelming aspect of this group is the fact that we soak it all in so well and put it out there quickly. Normally it would have taken me a long time to memorize (darn that Henry Ford), it's become almost a competitive thing with the group. Almost like, ' I know this better then you do, nana nana boo boo!' Tonight we began working the second act. Our 'Coalhouse' Ed is fantastic to say the least. I know he was meant to play the part. His voice is strong and Ed pulls off the tough angry man part rather well. He makes you wanna climb the wagon and join the trail against the injustices and wrong-doings. I foresee a standing ovation. A LONG standing ovation. And hopefully our Directors will know, after it's all said and done, that they did a superb job and were greatly appreciated. I know I appreciate them for giving me the opportunity to do this. Regardless of how quirky they act sometimes.

- Elijah Cardona (Innocuous Immigrant)

Rehearsal Day 25, September 6, 2005

Tonight was a little different.........there were only a few cast members in attendance. It was very quiet backstage. The directors were working the scenes around Atlantic City that set up the tension between Mother and Father and Tateh. They all did a great job as usual. Whitney and Libby choreographed a little dance for us to do during Buffalo Nickel. I don't know about everyone else, but it has been nice to come to rehearsal. I tend to get a little wrapped up in the news. I have had CNN on almost constantly since Katrina hit the gulf coast. We are truly blessed to have our lives our friends and families and the theater. I hope we can do something for the people that have come to our community, I am sure they feel somewhat like the immigrants in Ragtime. I know we will be working very hard the next few weeks. It will take a lot of patience from all of us.. My favorite part is when it is all put together and it seems so natural. We are going to blow Denton, Tx away.

- Susie Hennen (Immigrant Chorus)

Rehearsal Day 26, September 7, 2005

Three weeks from opening and the work is getting detailed - stop, go back, run it again, fix one thing, run it again. Rinse. Repeat. Last night we spent four hours on, for all intents and purposes, twelve pages. The script is full of small beautiful "moments," and last night I saw one of them happen for the first time. Mother and Tateh have this difficult, complicated relationship from the first time they meet. When they don't know what to say to one another, the best they can come up with is "well." Last night, I had the next line, but almost didn't want to say it, because I didn't want to interrupt that small, lovely moment. The detail work and polishing we're doing now, grueling though it is, will help to bring all of those moments to life in our performances. We also learned that we will be adding a benefit performance of Ragtime on Wednesday, October 5th at 7:30 p.m., with all proceeds going to Hurricane Katrina Relief efforts. In addition, the cast and crew are pulling together to assemble "hygiene kits" with basic life necessities like washcloths, soap, Band-Aids - things we take for granted. How great will it be to put forth a really excellent production that allows people to escape the "real world" for a few hours, and at the same time raise money for those in need? This is my first show at DCT, and I'm so proud to be a part of this community of artists.

- Kimberly Mickle (Immigrant Chorus / Understudy for Emma Goldman)

Rehearsal Day 28, September 9, 2005

What a rehearsal! What a show! Tonight we staged the most intense part of the show. Seeing Coalhouse take a stand, seeing him pass on his passion for a "new" and better America, a "new dream," gave me goose bumps. This show can indeed change the world. We tried changing the lyric of the last lines from "our son will ride on the wheels of a dream" to "each child will ride on the wheels of a dream" to broaden the scope (my idea, I'm pleased to say...even though we would eventually go with the author's version)! I do believe though - that because of art like this, music like this, theatre like this, each and every child in America is closer to realizing the true American dream of equality. A dream that is more concerned with others than with self. A dream that looks beyond the walls of our lives to those in need and moves us to compassion. It is my prayer each and every day that all God's children will be able to ride on the wheels of that dream.

- Jeremiah Mayfield (Vocal Director / New Rochelle Chorus)

Rehearsal Day 29, September 10, 2005

We ran through the second act from start to finish for the first time tonight - definitely marking a milestone in the production. But what caught me off guard more than anything were the most extensive director's notes that we've been given to date following a rehearsal. While many people got hints, corrections, recommendations, and suggestions thrown their way - it seemed that Father (yours truly) received the lion's share of them. Many of the notes were ones that I have gotten in some form or fashion before. But one of them really hit me between the eyes. In piecing together a stage production, I believe that the process is not too dissimilar from that of putting together a movie. Scenes are not always rehearsed in chronological order - and quite often can easily become a large number of individual shows - connected only by the fact they are captured in the same book - but often lacking consistency and continuity of character. That is exactly what I found myself doing (realizing it only after receiving tremendous insight from our wonderful directors!) in scene three of the second act. Working hard to commit to a particular personality throughout Father's other scenes - many of which lack the humorous nature of most of the roles I have played before - I found myself deviating from that personality in order to fit a particular vision I had for one scene. In "What a Game," Father is put in a situation in which he thought he'd escape the uncomfortable situation that he and his family are in, by putting himself in a situation where he just KNEW that he would find that comfort (because he always had there before). When even the ballgame seems foreign to Father, he is surprised to find that he can't even find comfort in the great American pastime anymore. Where my characterization of Father was lacking was in being grounded in the same stuffy, hoity toity personality that Father displays throughout the rest of the show. What I was trying to accomplish for the sake of comedic relief, was betraying all that Father stands for. So, with a few brief comments from the directorial staff, I now have an understanding of how to keep Father centered and true to his character in that scene, while still reacting to the chaos that surrounds him. The next two and a half weeks of rehearsal will be filled with little morsels like that one, that require each of us as actors to reassess our characters, refine our performances, and leverage the knowledge of those directing the show to help make this production the quality that we KNOW it can be! Continuing the journey...

- Scott Wood (Father)

Rehearsal Day 31, September 13, 2005

Last week due to work issues, I was only at rehearsal sporadically. This made it possible for me to really see a big difference in where we were last week compared to where we are today. Personally, I am amazed at how the show is coming together. Yes, we have a lot of work to do, but look how far we’ve come- especially in the last week. Tonight we finished some of the transitions in Act I, and then starting at about 9:30 we ran the entire first act. It was my first time to participate in a complete run through of either act. It was painful in spots (there are always rough spots) but by the end of the act it was a very emotional experience for me. This is not a show where anyone can "phone it in". This is a challenging production on many levels. From my point of view, honestly, the piano part is the most challenging of any show I’ve ever played. It’s physically and emotionally tiring (and since the score is piano heavy, I know that will continue even when we add the rest of the orchestra). But in my experience, the harder you have to work for something, the more it means when you finally achieve it. That is how I felt at the end of rehearsal tonight. It was 11:00, my arms felt as though I had been beaten by hammers, my brain was fuzzy, but the run through of Act I was so satisfying that at that moment I felt like I could have done the whole thing again! Most people go through their life and never get to participate in an experience like this. I feel very lucky.

- Sarah Brown (Rehearsal / Performance Pianist)

Rehearsal Day 33, September 15, 2005

Well, a landmark in the journey that is Ragtime happened tonight: we ran the entire show!... My eyes hurt (no, everyone is great). The music and dance numbers are really starting to come along – slowly but surely the kinks (predominantly mine) are being worked out. We open in thirteen days, which is a scary, scary thought. Shows seem to go by so quickly. I still remember coming into the rehearsal hall knowing no one, fearing for my life when I found out I had to scream, "was a violent man!" in front of everyone, and mumbling my way through the songs of which I was entirely unfamiliar. Oh wait, I'm still mumbling... I'm going to go through withdrawals when this show ends; we've all gotten so close, which is wonderful, but it's just going to make leaving the show that much harder. I had no idea what Ragtime was even about when I sent Mildred an email asking her if I could be in the chorus, but it's all my family has been hearing as I sing – poorly – around the house every day since then. Even without the stellar productions, DCT does an amazing job of bringing together a temporary family for each show. I have enjoyed not only this musical but the entire cast as well. Thank you all.

- David McFarlane (Willie Conklin, Harry K. Thaw, Policeman, Baseball fan, etc.)

Rehearsal Day 34, September 16, 2005

Lots of scene work tonight. Mildred and Jeaneanne worked several key scenes to help solidify the delivery of an amazing script. I had the opportunity to see the fantastic work of some of my fellow actors - Justin Harmon (Younger Brother), Mother (Pat Sherman), Little Boy (Kenton Duty) all did some tremendous work in key scenes. Dance Captain Libby Sherman continued to help the Harlem Chorus sharpen what should be a wonderful number - "Gettin' Ready Rag." Many of us also had the chance to begin trying on costumes for the first time. The time period and the characters begin to come alive at this stage of the game, and will only become more real as sound, lighting, and additional set work begin to materialize. We're only three rehearsals away from having the orchestra join us, and after almost two months the show is finally nearing the performance stage. All of the hard work is soon to pay off; and the next nine rehearsals will require the most focus we have had to exert to date in order to help us pull off such a challenging show.

- Scott Wood (Father)

Rehearsal Day 35, September 19, 2005

Sadly enough, I went a little overboard with video games in college. I was determined to be the best at one game in particular (don’t laugh)...Super Mario Kart. So dedicated was I, that when playing friends, I would secretly have the VCR recording the matches. Then later, I would go back and watch my moves and my opponents’ moves over and over again in order to identify the best strategies and thus set myself up for success. While most (ok, ALL) people see that as being a bit too into video games – it did pay off. I rarely lost at Mario Kart. I had honed my driving, turtle-throwing, and banana peel-avoiding skills! Well, in many ways Ragtime is in that same “do, rewind, watch, and learn" mode. Unfortunately though, we aren’t just hitting the rewind button to watch certain chorus numbers over and over again. We’re running those scenes over and over again and letting the directors play the role of the remote control. Tonight was a night of meticulous watching and reworking the opening and closing numbers of the show. I think for all of us (directors included) it was a very strenuous night. Group placing, individual blocking, transitions – were all the total focus as we worked to make these two huge numbers enjoyable to watch for the audience. I wouldn’t say the numbers are perfected yet. But we certainly took major steps in the right direction. Hopefully - when we pull off a great show - I’ll have less people make fun of me than I did playing video games in college.

- Scott Wood (Father)

Rehearsal Day 37, September 21, 2005

Today we started the night out by doing a good deed. The cast and crew put together health kits for the victims of Katrina and were able to present them tonight to United Way. It was a touching moment. Sometimes we can get caught up in our problems and forget there are others that out there who face bigger issues then we sometimes have. That seems to be the theme for the show. Tonight we ran Act II of the show. I have to say I think we did a good job. Yes, there where places that we need to work but the show is going to be greatness that everyone should see. I am glad that I have the chance to be a part of this show. I have seen the show two times before and I have always have wanted to be in it. I wanted it so badly that I make a long drive everyday. I have an hour drive to get to the theatre. It is worth it. The cast are a great group of people to work with and I learn from them all the time. I am telling everyone that I know to be ready to be laugh and cry, to get angry and to be happy, to learn and to be challenged - all while being entertained. This is what the show does. It takes you to so many places in such a short time. It is a therapy session. I think that is a sign of a great show. "Listen To That Ragtime."

- Ecko Wilson (Harlem Chorus)

Rehearsal Day 38, September 22, 2005

A couple of "firsts" for us today and tonight. At noon today we had our first opportunity to perform some selections from Ragtime for an audience. We were invited to provide a program for the noon Rotary Club in Denton. Father, Mother, Younger Brother, Little Boy, Coalhouse, Sarah, Emma, Tateh and Little Girl (with Sarah Brown on piano and Jeannene narrating) traveled to TWU's Hubbard Hall to give the Rotarians a taste of Ragtime and (hopefully) whet their appetite for more. They seemed very receptive and appreciative--I think it all went very well. And then our evening rehearsal was an introduction to a few members of our orchestra. Not all were here, yet, but enough to give us a feel of the difference in working with a number of musicians vs. one accompanist on piano. It's a challenge--trying to coordinate tempos, cues and entrances, etc., but a thrill, as well as to begin to get a sense of the richness and layers in this entire musical score. Oooooooh....it's gonna be good! We had a great disappointment tonight when we learned that Michael DeRoche, our Henry Ford, was going to have to leave the cast. Although we knew that he had traveled to Nederland to help his mom escape the approaching Hurricane Rita, we had no idea that as an insurance claims adjuster, his company would transfer him so quickly to the Gulf Coast area in this aftermath of two hurricanes. Michael is a talented, mature and faithful performer who has contributed so much to our cast in our rehearsal process; we will miss him terribly. I can't help but speak as Mother and say God bless Michael as he journeys--and (in this time of another national tragedy,) God bless America, too.

- Pat Sherman (Mother)

Rehearsal Day 39, September 23, 2005

T minus 2 rehearsals. That is all that is left until Ragtime launches before a preview audience next week. It seems like there are still worlds of things to accomplish before we open - but I don't think it would be normal if that weren't the case. There are still sound challenges; We eagerly anticipate the arrival of Dawn to run the shows projections; Makeup starts on Monday; Costume pieces are still being gathered and tailored; and last, but not least; we are still polishing our individual performances. Cody continues to work very hard in moving from the Immigrant Chorus to the New Rochelle Chorus due to our losing Michael. Dr. Linda Ruben and her team of stage hands become more efficient each night in crafting set changes and herding the cattle (that would be us actors) back stage. Carol Alexander continues to finalize set dressing. No matter how many shows I do, it never ceases to amaze me how much the show morphs in the last few days. I've been waiting 7 years to perform this show. And God-willing, I'm now less than a week away from that dream.

- Scott Wood (Father)

Rehearsal Day 40, September 26, 2005

The storm before the calm. Tonight was another difficult rehearsal. We all wanted to get through the entire show tonight, but ended up spending a good bit of time on technical things. Ray, our music director, brought a sound monitor so that he could conduct, when necessary, to catch up or slow down to the actors' tempos. Unfortunately, the monitor wasn't picking up sound, so we weren't always in sync. That will be fixed. Our sound engineers continued to pick up on mic cues...but we still had a few times where microphones weren't turned on early enough. That, too will get better each night. This is always the point of a show where everyone swears we are far behind in putting the production together, but at the same time everyone knows it'll all work out. We also welcomed out littlest member of the cast tonight. I believe his name is Colin (though I'll have to double check). He's a cute little guy, but it was obvious we kept him up past his bedtime. I'm afraid his few moments on stage will steal the show from the rest of us. One more rehearsal before preview!

- Scott Wood (Father)

Rehearsal Day 42, September 28, 2005

Preview

Ragtime has become one of my favorite musicals. Partly because of the story and music but also because of the outstanding cast and crew. I am so impressed with the collective talent in this cast and crew. It is one of the strongest companies I have ever had the pleasure of working with. As far as last night goes (preview night) I thought it went very well. We all have details to take care of but this production is growing and maturing as all the members of cast and crew get more comfortable with and become more trusting of each other. It takes time to become acquainted with the characters in a music or play and it is gratifying to see how far the entire cast has come in realizing the personality of each character. Each performance brings all of the character that much closer to being real people with real aspirations, disappointments and challenges.

In terms of the musical side of things, I am very impressed with the cast's sensitivity to musical nuance and detail. It just keeps getting better every day. Which is great because in all musicals, especially this one, so much of the story is told through the audience. It seems to me that the audience really gets to know the characters through the music. So. the actor/singer's expressive ability, that ability to communicate the character's emotional state through the music is paramount, and this cast has really stepped up to the proverbial plate to get the message across.

Anyway, the journey so far has - for the most part - been a most enjoyable one. Like everyone else I'm sure, I am waiting for all of the technical things that must be dealt with in any show, and that often get in the way of the story, to click so that we can provide the best possible experience for our audience cast and crew. I have no doubt that with such a talented cast and crew, everything will fall into place.

- Ray Staniszewski (Music Director)

Opening Night, September 29, 2005

The Ragtime Trio Realizes Dream

We just opened in Ragtime! Our dream is reality! What an awesome feeling it is to be performing one of my dream roles on stage with two of my good friends who share a common obsession with Ragtime: the Musical! It was very surreal looking across the stage at Pat during 'Our Children' and knowing that we were actually standing on the Campus Theatre stage performing a song we have been longing to do together for years. It was a great rush of excitement. The emotions of the show itself are very deep, but when mixed with those of performing this show with Scott and Pat it is somewhat overwhelming. Opening night was a great success, aside from some sound problems that still need to be worked out, the show ran very, very smoothly. The excitement was riveting as Sarah Brown began playing the piano solo in the prologue and Kenton began to say his line "In 1902, Father built a house....". It is a great joy at the end of Act I, looking over the audience and seeing their emotions and how they were caught up in the story of this beautiful show. To my good friends Scott and Pat -- "It is a dream come true to work with artists of your magnitude, Danke!" Also, thanks to the entire cast, crew, and production staff for making our dreams come true! - Eric

Wow. Okay. We've done it (or at least started doing it)...IT being Ragtime, the Musical. I suppose in live theatre, no performance is "perfect." Our opening night was no exception. However, I am so very, very grateful for what felt like a really nice and moving production for the open of this run. As the New Rochelle Chorus took our places on stage at the very top of the show, I had to really focus and sternly talk to myself (and pray!) to keep from becoming really emotional about what was about to happen. Thankfully, that emotion gave way to the composure to live a dream. I know I am no Marin Mazzie (Broadway's original "Mother"), but gosh what a thrill it is to play this role that she developed and nurtured so beautifully! And for the men in my/Mother's life to be played by Scott and Eric is just such an incredible serendipity for us all. What a special time for the three of us in that curtain call; I LOVE YOU BOTH! - Pat

The orchestra had reached the "Wheels of a Dream" portion of the Epilogue, and I found myself in my final position down stage left with clear view of the audience. I had just finished an emotional scene with Coalhouse, when I was able to look out and see the audience members reaching for their tissues to wipe away tears and blow their noses in response to this powerful show. Instead of that making me more teary-eyed, I couldn't help but smile. We had done it. I just made Ragtime part of my theatrical resume, and crossed my favorite musical off of my list of shows I hadn't performed in. And as if that wasn't enough to be happy about, a few moments later I shared a bow with Pat and Eric. Among the three of us, there is a combined 21 years of dreaming about doing this show together. We opened the show (post introduction) by singing "Journey On" together, then finished with a group bow. Extremely gratifying. I was very proud of the entire show. I'm lucky to be playing with such a talented cast; such a wonderful crew; and such an amazingly gifted production staff. I feel like our hope of this show being one that Denton will remember for years to come is coming true. We have eight more shows to improve still, and tickets sales point to full houses for most if not all of the run. To Eric and Pat, I want to especially thank you both for your performances and your friendship! This has truly been an amazing journey together! I can't wait to do it again tonight. - Scott

- Eric Ryan, Pat Sherman, Scott Wood (Tateh, Mother, Father)

Performance Three, October 1, 2005

Tonight was a special night for Ed (Coalhouse), and by association for all of the cast. Ed's mother is an accomplished Opera Singer and Actor - having been schooled at Julliard and performed at many prestigious theatres and halls. One thing his mother hadn't seen before, was her son performing on stage. Since this was Ed's first stage production (though singing in public is a familiar act for him), he decided to surprise his mother and not tell her he was in the show. So Ed's brother brought her to the show; managed to keep her from seeing his photo out in the lobby; and gently leaned over and whispered to her during the opening number "Who's that playing the piano?" I was fortunate enough to meet her after the performance (another sold out show, I might add), and it was a truly inspiring moment to see her glowing with pride. A very charming and kind lady, it was obvious that she was still in shock, but still swelling with the glow from watching her son take the stage. Ed and his mother gave us all a night to remember tonight. What a special moment.

[Note added on 10/3/05: Ed's father passed away yesterday. Ed will be performing with us the weekend, but with a very heavy heart. For those of you reading this journal, please keep Ed and the Guignard family in your prayers.]

- Scott Wood (Father)

Performance Four, October 2, 2005

Weekend number one of performances of Ragtime: The Musical is now complete and what an amazing experience it's been thus far. From Wednesday's preview through today's Sunday matinee, these houses have been full (some have been beyond sold out) and that makes this show even more magical when you add that last little ingredient to the art of live theatre, the audience. Ragtime, especially in this community, has become a show beyond anything this theatre and this city have ever seen. The roar of the applause, the sounds of tears and laughter, seeing the tears and hearing the gasps - all prove to the actors, directors and technicians that what we're doing really does mean something special. It's what we love, it's what we live for. For those of us who have performed on this stage numerous times as well as those who are taking to the stage for their very first time, it never gets old. Every night and every performance of this show are a new experience...a new amazing part of the journey. We're all so thankful for the chance and the opportunity to tell a story with such heart and truth. Many of us who have known and loved this show for years have an appreciation just as deep as the audiences seeing it for the first time...it's passion, it's history, it's love, it's acceptance, it's reality, it's genuineness.....it's Ragtime.

- Justin Harmon (Younger Brother)

It was nearly a year ago that I agreed to run a show called Ragtime for Jeannene Abney (Director). While Jeannene and I have been involved in several shows together as an actor (definitely Jeannene, not me) and a stage manager (me), we had never worked together as a director-stage manager team. Mildred Pevito (Director) and I had talked about working a show together, but had not been able to do so. So, Ragtime was the coming together of a new director-stage manager team. The technical aspects of Ragtime are complex. Coordinating this complexity (i.e., set movement, light and sound operations, projections, and “putting out fires” backstage) and calling hundreds of cues consume my energy and attention during the show. In my running to keep up with the constant barrage of technical shifts, I have been surprised to find that meaningful heart-warming and heart-breaking moments have reached out and broken through the ongoing technical haze. I experience laughter and tears at poignant moments, even as I race through my cues: “Standby lights,” “Go sound,” “Standby scene change,” “Go projection,” “Standby spot,” “change out the battery,” The power of the story, the strong performances, and the talent in the orchestra have charmed and moved me. Standby and Thank You.

- Dr. Linda Rubin (Stage Manager)

Performance Five (Benefit Pick-up Rehearsal), October 5, 2005

What is normally referred to as a pick-up rehearsal - coming back from a few days off after opening and gearing up for another weekend of shows - the cast of Ragtime instead 'rehearsed' in front of a generous audience. This audience attended the show by donating $20 each to local charities in aid of those displaced by hurricanes Rita and Katrina. The audience was very grateful and appreciative despite some...well to be nice...'challenging' moments. For some reason, tonight our cast couldn't hear our orchestra; our orchestra couldn't hear our cast; and therefore we seemed out of sync the whole show. There was one moment of levity in the performance though that bears telling: one of our cast members left his fly open (with a bright fireman red set of long underwear underneath) during the baseball scene. As he stood up, his fly gave a bright view of Red. As he sat down, it closed up again. Considering the choreography required up and down movement throughout the number...this particular cast member provided a very humorous peek-a-boo show. He was very gracious in taking plenty of ribbing from friends and cast-members alike. But looking back on our worst performance of the run, it was a nice moment to remember.

- Scott Wood (Father)

Performance Six, October 6, 2005

After a disheartening (but quite common for a pick-up rehearsal) performance on Wednesday, this cast pulled off an amazing turnaround. Adjustments to the volume levels with the onstage monitors, a reworking of seating of the orchestra in the balcony, and renewed focus by the cast brought our last non-sellout audience to their feet. Things clicked tonight better than they had in any other performance. For the first time in this run, audience members who have been long time patrons of Campus Theatre shows began making strong statements about the quality of the production. Many commented that this could very well be the best performance they have ever seen on the Campus stage. Considering the large number of amazing shows performed at this venue (Sweeney Todd, Guys 'n' Dolls, numerous Gilbert & Sullivan Operetta's, The Music Man, and countless other plays and musicals), that compliment was not taken lightly by the cast. Its nights like these that make all the work both during rehearsals and on our own time all worth while. A few cast members began to feel the burden of performing while sick however - Eric Ryan (Tateh), Emily Baker (Social Worker, New Rochelle Chorus), and Treva McFadden (Sarah's Friend) all suffered through sinus and chest congestion symptoms and still performed at very high levels. Ed (Coalhouse) continued to impress even though he was still grieving the loss of his father - whose funeral he would attend before Saturday's show. "The Show Must Go On" is a phrase that kept coming to mind tonight.

- Scott Wood (Father)

Performance Seven, October 7, 2005

Sell out number three. Whether the venue you're performing in seats 300, 1000, or a mere 50...there's nothing like a sell out. To hear the buzz of the audience arriving at their seats; knowing that many stood in line waiting for unclaimed tickets to see a show they had heard would knock their socks off is an actor's dream. Actors feed off of the audience. Many professional actors have referred to a live audience as a 'new member of the cast each night' - each character portrayed differently than the next. Tonight continued a second weekend of shows that many of us wouldn't have imagined would go so well just a few short weeks earlier. Dr. Linda's backstage crew was running smoothly, the orchestra was extremely polished, the actors were now running the show as if it was second nature, and technical concerns (such as problematic mics causing random popping noises, and sound cue errors such as a string of gunfire playing where the 'crack of a baseball bat' should have been) all but completely disappeared. Tateh, Mother, Coalhouse, Sarah, Younger Brother, Evelyn, Emma, and the rest of the cast knocked off, not only the audiences', but my socks as well. What a privilege to be on the same stage as these incredible actors. The audience was quite impressed, too, to say the least - beginning its standing ovation before the final number was even completed. Wow. It also dawned on me tonight that we only had two shows left - prompting me to take a moment onstage once everyone was out and the lights were off - to just stand there and reflect on the amazing journey we had taken so far.

- Scott Wood (Father)

Performance Eight, October 8, 2005

Best audience ever. Having been on stage for more than 120 performances spanning 20 productions, catching me off guard is not so common. Tonight's audience did just that, however. I've performed for audiences I swore were made up of the living dead - and I've performed for those that could easily have been wacky on laughing gas; as well as every kind of audience in between. But this audience was by far the most fun to perform for. Laughter, tears, applause, sniffles, more laughter, then more applause. Then, at the end of Act I as Treva and the cast left the blackout after "Till We Reach That Day" they gave us a standing ovation - only half-way through the show! Needless to say, the adrenaline rush the audience gave us only made our performances better. By the end of the night, we were all emotionally drained - audience, actors, stage hands - all of us. The only thing that would top that performance from the actor's perspective would be the emotion brought on by our farewell show less than 24 hours away.

- Scott Wood (Father)

Closing Night (Performance Nine), October 9, 2005

I never promised that I wouldn't tear up today. In fact, in all but two shows my eyes filled with teardrops during my scene with Coalhouse in the Morgan Library. After all, Coalhouse was about to make his plea to his followers to "Go out and tell the story," to "Make them hear you." And to top it off, Father finally makes a connection to someone outside his circle of upper crust white folk - connecting with Coalhouse as a father to another father would. But this afternoon's show was different. Performing for our 5th sold out house, we knew that the curtain would be falling for the final time on this production of Lynn Ahrens, Stephen Flaherty, and Terrence McNally's amazing show. Even as an overzealous audience member spoke out-loud to my character during the scene, I couldn't help but swell with emotion. As Coalhouse shook my hand, and thanked me for my "kindness to his family" it took everything I had to deliver the line "you're welcome." To quote the show: "The era of Ragtime had run out, as if history were no more than a tune on a player piano. But we did not know that then." In our case, though, we DID know. Our moment was running out. And as Father found the kindness that he buried so deep in his heart and reached out to Coalhouse to tell him "He's a fine boy!" - a single tear (as big as the family's house on the hill in New Rochelle) ran down his right cheek. As the Epilogue played, and final curtain calls took place (including a hug shared among three friends who for 7 years had dreamed of performing this show together) - that single tear turned into many. A happy and satisfying moment that no journal or blog could capture; that no amount of words or notes could convey. We had done it. We lived a dream. And no matter how insignificant that dream was in the scheme of life (and the life to come after this one), it was still our tiny dream - and we saw it through. Having taken our final bows and having dismantled Carol Alexander's fantastic set - we breathed a huge sigh of relief. Now it truly is time to 'journey on!"

- Scott Wood (Father)

Final Reflections, Post-Run

All I can say is, for ten years I have been given several opportunities to be on the DCT stage, but due to my business, and the overwhelming success I've been blessed with, I have just not been able to muster the time to do a show. For some reason, this obviously was the right time and season for me to do a show, and it was through Pat's urging that I finally succumbed to this desire, and boy am I glad I did. What an awesome experience! From the very beginning, Mildred and Jeannene (as well as the rest of the cast and crew) exhibited a great deal of patience with me, as I really floated through the first 4 weeks of rehearsal with very little time for preparation. As I told Jeannene, I would eventually "get it" and be "on board" once I got through a very busy time at work, and had time to "internalize" the show, and really breathe life into Booker T. Once that happened, I really started to enjoy my time and hopefully brought Booker T to life. So thank you all once again for the opportunity, and for all the fun and great friendships that were fostered.

- Walter Eagleton (Formerly Booker T. Washington)

I sacrificed a few professional and personal responsibilities so that I could participate, because I love the show so much. I love being in a show, for one thing, but this particular show was so meaningful to me. It was hard, but as I have said before, the more difficult the more meaningful the goal, right? This particular show was really challenging, technically and emotionally. There were nights when my arms ached from rehearsal. There were times, even in the performance, where I didn't think I could play much longer, and I would steal a few seconds during applause to shake my arms out. But, it was so worth it. During the entire final performance, I was so sad knowing with each individual song I would never perform it again with this group of people. There were places during the show where I would cry every time. During "Gliding" every performance I thought of my mom and how I miss her. When Coalhouse sings his final song, I cried every time knowing it was the end for him. I cried when baby Coalhouse comes out at the end knowing he carried Sarah and Coalhouse's hope with him. Even though I wasn't there for every rehearsal, I really bonded with the group. I miss every single person in the cast and crew. I am so grateful we have the journal to look back on this wonderful journey.

- Sarah Brown (Formerly Rehearsal / Performance Pianist)

Performing with co-worker Pat has been fun. A lot of our clients saw the show and just raved about it. Many said it was the best DCT has ever done. One woman who has lived back east and seen many high quality shows was astounded. All of these were very nice to hear, but today I had a very moving experience. A person very close to me said she had spoken with someone who had seen Ragtime and it had changed their life. Of course, I was shocked and yet intrigued. Apparently, this person's great grandmother had been an immigrant and had given her child (this person's grandfather) to an orphanage. The institution had put quite a few of the orphans on a train and sent them to Texas where they were adopted. This left many unable to trace any family roots and history. As this person was watching the story unfold they became very aware that the immigrants could easily represent their long ago relatives and what they had to go thru. Even giving up a child like Sarah did and Tateh almost did. This meant so much to me I just thought of all those times Mildred and Jeannene had said you can change someone's life with this show, and we did. The more I talk to people and listen, I realize what an impact this had on many people. This is just one small story.

- Susie Hennen (Formerly Immigrant Chorus)

Every actor I know suffers from post-show depression once a run is complete. As I write this...two weeks after our final performance...I find it surprising that I still have not faced that depression. I still have a feeling of pride and accomplishment. I look back on the photos I collected, the memories written above, and the memories of auditions, rehearsals, and performances, and feel...well, satisfied. I hope to perform again with many of the actors from this show, but know it may be a long time. I anticipate auditioning again for Mildred and Jeannene both at some point as well. But for now, as I stare at least a 6-month break from theatre in the face, I can't help but wonder "what will I be happy doing next?" I've performed in my favorite show now. Our production, by all accounts, was extremely well done. What will I be satisfied with doing now that I have such a 'perfect' experience in the rear-view mirror. Well, theatre always finds a way to pull you back in, so I know that I'll end up doing a show that is its own unique, memorable experience. But what remains uncertain is "will I ever do a show that I'll enjoy even half as much as this one?" A heartfelt thanks to the cast, the directorial staff, the crew, the orchestra, and the audiences (especially my friends and co-workers who attended) - making this a show I won't ever forget. Now more than ever...Journey On!

- Scott Wood (Formerly Father)