For me, and probably the rest of the orchestra, this was my first week in Reynolds, where the show will actually happen. It’s finally become apparent to me how much effort and genius has been put into all areas of production. The set looked smaller from the audience than it actually looks on stage, but it’s beautiful when we see how different parts are used for each setting – it frames the characters very well. As someone who has worked with audio and visual systems before, I was also very impressed with how flawlessly all the tech was organized (at least from what I saw and heard), especially on such a huge scale as Ragtime. And though I remember being awestruck at our first read-through in class, I had forgotten how well the cast could sing.

(I’ll be modest, but the orchestra also sounds really, really good. Kevin, our conductor, is a wizard.)

I’m sure you have all already heard this, but this is going to be amazing.

For me, it’s been a mix of panic and exhilaration. I had no idea that Ragtime opening night would be the same day as a major biology exam, resulting in a juggle of rehearsal and studying. Once I settled into the pit and started playing, though, all these problems felt less relevant. The huge stack of music seemed to vanish so quickly as well – when we’ve gotten into the stride of the storyline, all the numbers felt continuous. Before, I was doubtful that the different motifs and unconventional key signatures might feel disjointed – but that was not the case now.

Overall, Ragtime feels more lifelike and complete now that all the pieces are set in place. I do wish I could see the whole thing once from the audience, but having been a part of the production across these months is even more exciting and rewarding.

(Here’s some informal promotional art that I used to invite my friends.)ragtime promo sketch