It is very rare that a revival of a musical is imagined better than the original production and exceptional that its message is more relevant now than when it first opened on Broadway nearly thirty years ago in 1997, garnering four Tony Awards. That is the case for the glorious revival of “Ragtime” with a book penned by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, now playing at the Vivian Beaumont Theater at Lincoln Center, directed by Lear DeBessonet. This incarnation was first seen at City Center in 2024, and the principal cast members have stayed the same, with some welcomed production values enhanced, making it more impressive.

The plot revolves around the intersection of three different social classes at the turn of the century, in New York. There is a wealthy White family living in Westchester consisting of Mother (Caissie Levy), Father (Colin Donnell), Little Boy (Nick Barrington), Mother’s Younger Brother (Ben Levi Ross), and Grandfather (Tom Nelis); a Black couple from Harlem, Coalhouse Walker Jr. (Joshua Henry) and Sarah (Nichelle Lewis); and artist Tateh, an immigrant Latvian Jew (Brandon Uranowitz), and his daughter Little Girl (Tabitha Lawing). Mother first encounters the couple from Harlem when she discovers a newborn baby in the garden of their home, left there by Sarah who is alone after leaving Coalhouse because of his lack of commitment. Mother and Little Boy experience a chance meeting at a train station with Tateh and his daughter, and exchange polite pleasantries although the difference in social status is undisputable. Coalhouse wins Sarah back, but on their way to New Rochelle they are confronted by a fire squad who vandalize his car. Seeking justice, Sarah goes to a rally to see the vice-presidential candidate and is beaten to death when someone shouts, “She has a gun,” which is not true. Coalhouse vows to seek justice on his own terms and finally takes over The Morgan Library and threatens to blow it up with the help of Younger Brother who worked in a fireworks plant. The end does not fare well. The wealthy White family escapes to Atlantic City to avoid the press seeking information about the event. Meanwhile, Mother meets Tateh once again, who is now a film director. There are many twists and turns in the plot that fill in the missing pieces and provide a surprising end to the story. That is the skeletal framework, with many events happening in between to move the action forward and make the plot believable.

The story is captivating and never feels labored, but the magnificent cast is what elevates this production to another level. Each of the leading actors is like a powerful storm, but as an ensemble they create an emotional tornado that sweeps across the stage. One powerful voice is more powerful than the other, with vocals that are delivered with musical precision and tremendous passion. Standing ovations were common throughout the performance.

Caissie Levy sums up her character’s growth in a stirring rendition of “Back to Before” that shows her strength, determination, and commitment. Nichelle Lewis and Joshua Henry perform the heartfelt duet “Wheels of a Dream” with unwavering fervor. Mr. Henry again commands the stage with “Make Them Hear You,” a warranted anthem.

Scenic design by David Korins is minimal but effective with key structural elements that serve each scene but never appear intrusive. In one ominous scene, Mother stands alone, as billowing clouds fill the area above the stage, only to disappear quickly, as if a strong wind had blown them away to make way for a brighter future. Lighting design by Adam Honoré and Donald Holder is exquisite, capturing moods that evoke the emotional content of each scene with nuance and precision, at times hopeful, suddenly turning bleak and despondent. The splendid score by Stephen Flaherty, orchestrated by William David Brohn, is spectacular when heard by the 28-piece orchestra. Lear DeBessonet not only carefully and deftly directs this remarkable cast, but it is her vision of this complex story that constantly stimulates the audience. Don’t hesitate—treat yourself to this production and these performances that are rare. They will certainly be considered a highlight of this theater season.