Ragtime Teaching Resources written by Katy Warner

Preparing to see the show

Historical Context

Ragtime is set in America in the early 20th Century.

The Progressive Era was a period of widespread activism and political reform across the United States in

the 1890s to the 1920s.

In the 1890s, a group of reformers known as the Progressives emerged to combat some of the ill effects

of these changes. Most Progressives came from middle-class backgrounds, and many of them were

college educated. Progressives generally believed that industrialization was good for the United States,

but they also contended that human greed had overcome industrialization's more positive effects. They

hoped to instill in U.S. residents moral values based upon Protestant religious beliefs. The Progressives

wanted employers to treat their workers as the bosses wanted to be treated. They also hoped that, if

working conditions improved, people in the U.S. would not engage in immoral activities, like drinking and

gambling, to forget the difficulties that they faced.

Progressives sought better pay, safer working conditions, shorter hours, and increased benefits for

workers. Believing that only education would allow people to lead successful lives, Progressives opposed

child labor, wanting children to attend school rather than working in mines and factories.

Before seeing the show, students may want to research this era to better understand the historical,

political and social context of the story. Important areas of research from this era include:

African American Reformers of the Progressive Era

African Americans were faced with consistent racism in the form of segregation in public spaces and

disenfranchisement from the political process. Access to quality healthcare, education, and housing was

scarce, and lynchings were rampant in the South. To counter these injustices, African American

reformists also emerged to expose and then fight for equal rights in the United States.

Important People: W.E.B Du Bois, Booker T Washington, Ida B Wells.

Important Organisations: National Association of Colored Women, Niagara Movement, National

Association for the Advancement of Colored People, National Urban League.

Women’s Suffrage

Women became leaders in a range of social and political movements from 1890 through 1920. During

this time, women and women's organizations not only worked to gain the right to vote, they also worked

for broad-based economic and political equality and for social reforms. Women and women's

organizations also worked on behalf of many social and reform issues. By the beginning of the new

century, women's clubs in towns and cities across the nation were working to promote suffrage, better

schools, the regulation of child labor, women in unions, and liquor prohibition.

Important People: Charlotte Hawkins Brown, Florence Kelley , Jane Addams, Susan B. Anthony,

Elizabeth Cady Stanton

Important Organisations: National American Woman Suffrage Association, National Women’s Party

Immigration

From 1891 to 1900, 4 million immigrants entered the United States, from 1901 to 1910 that number

increased to 8.8 million. In 1910, three-fourths of New York City’s population was either immigrants

or first generation Americans. Unlike earlier immigrants, the immigrant populations of the progressive

era came primarily from non-English speaking European countries. Large numbers came from Italy,

Russia and Poland and often had a difficult time adjusting to American life. Many faced extreme

poverty and discrimination. Most settled in urban centers where jobs were available and ended up

taking work that other Americans would not. They became a cheap source of labor for the country’s

wealthy robber barons and played a key role in the labor movement. Settlement houses founded by

a new generation of educated women became important education and community centers for many

poor urban immigrants.

Ragtime Music

Ragtime music was an important element of the Progressive Era soundtrack. The African American

piano style originated in the Midwest and South sometime in the late 1880s or early 1890s. One of

its defining characteristics is heavily syncopated or “ragged” rhythms. The style grew out of the

Cakewalk, a popular African American dance competition of the time named for the prize commonly

given to the winner. Composer Scott Joplin popularised ragtime in 1899 with the release of his

classic Maple Leaf Rag.

You can listen to Scott Joplin’s Maple Leaf Rag via YouTube:

https://www.youtube.com/watch?v=pMAtL7n_-rc&feature=youtu.be

Use the following links to find our more about Ragtime Music:

http://artsedge.kennedy-center.org/interactives/harlem/

https://www.loc.gov/item/ihas.200035811/

https://www.nps.gov/jazz/learn/historyculture/jazz_history.htm

http://nationalhumanitiescenter.org/tserve/freedom/1917beyond/essays/jazz.htm

http://teacher.scholastic.com/activities/bhistory/history_of_jazz.htm

Making of the Show

Go behind the scenes of the 2009 Kennedy Center production Ragtime and explore the musical

partnership between acclaimed lyricist Lynn Ahrens and composer Stephen Flaherty, as they discuss

their successful collaboration and their body of work. In addition to live performances from the cast, get

a glimpse of the many elements—stage sets, lights, and costumes—needed to make a production

come to life (recorded in 2009 at The John F. Kennedy Center for the Performing Arts in Washington,

DC).

YouTube | 58 minutes | https://www.youtube.com/watch?v=yRpR0mbjczk

More reading about Ragtime the musical

https://theculturalcritic.com/ragtime-the-making-of-the-musical/

https://www.kennedy-center.org/education/pwtv/studyguides/themakingragtime.pdf

E.L. Doctorow (Author of the Novel)

The musical Ragtime is an adaptation of the novel of the same name, written by E.L. Doctorow and

published in 1975. The novel received much critical acclaim; Time and the Modern Library listed it as

one of the top 100 English-language novels of the 20th century. Former President Barack Obama

called him ‘one of America’s greatest novelists.’ Doctorow is known for his historical fiction, his unique

and sometimes experimental literary style, and his ability to incorporate contemporary values and

ideas into his discussions of past events.

You can read more about him via The Guardian: https://www.theguardian.com/books/2015/jul/22/el-

doctorow

Terrence McNally (Book)

Terrence McNally is an American playwright, librettist and screenwriter. McNally has won four Tony

awards for his writing of the book for Kiss of the Spider Woman (1993), and for his adaptation of

Ragtime (1997), as well as for his plays Love! Valor! Compassion! (1995), and Master Class (1996).

He also wrote the book for the musical The Full Monty and The Visit. He received a Special Tony

Award for Lifetime Achievement in Theatre in 2019.

“I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre

can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But

plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and

change itself." (Terrence McNally)

Lynn Ahrens and Stephen Flaherty (Music and Lyrics)

Ahrens and Flaherty have worked together since the early 1980s. Their work on Ragtime garnered the

attention of audiences and critics alike, and they went on to win the Tony Award for Best Score, a

Drama Desk award, and two Grammy nominations for the show. Other notable collaborations include:

Seussical, Once on this Island, and the songs for the animated film, Anastasia.

You can read more about them via Playbill: http://www.playbill.com/article/how-lynn-ahrens-and-

stephen-flaherty-became-an-acclaimed-songwriting-team

THE CHARACTERS

Historical figures, who lived and breathed and shaped the future of America, appear alongside fic-

tional characters in Ragtime. How many of these historical figures are you aware of? Which ones

don’t you know? Find out who they are ...

IMPORTANT NOTE ON THE CONTENT

The following has been taken from: Dehumanizing Language- Adapted from Facing

History and Ourselves, from the Ragtime Study Guide (Wheelock Family Theatre at

Boston University). Whilst American in its focus, it is still very valuable for Australian-

based educators.

Ragtime, like many literary works, includes both language and topics that require careful

consideration from teachers and students. The best way to prepare to encounter these topics is to

create a class contract outlining guidelines for a respectful, reflective classroom discussion.

EL Doctorow used racial slurs to illustrate the society he wrote about. The dehumanizing power of

these terms and the ease with which some Americans have used it to describe their fellow human

beings is central to understanding the themes of identity and human behavior at the heart of the

book.

In particular is very difficult to use and discuss the term “n-word” in the classroom, but its presence in

the play makes it necessary to acknowledge it and set guidelines for students about whether or not to

pronounce it when reading aloud or quoting from the performance or text. Otherwise, this word’s

presence might distract students from an open discussion about characters and themes.

THE PLAY INCLUDES STRONG LANGUAGE AND REFERENCES TO VIOLENCE, SEX AND

DEATH.

Please prepare students for this and discuss how to respond in the theatre. We suggest that you

process these as part of your follow up at school. Below is a list of some of the language and events

in the production and some suggested activities for preparing for the show and discussing it

afterwards.

References and Moments of Racism and Strong Language

There are three distinct worlds that exist in Ragtime. New Rochelle, a historically Caucasian and

upper class section of New York. Harlem, a historically African American and lower class

neighborhood of New York City. Manhattan's Lower East Side, a lower class neighborhood where

historically thousands of immigrants lived after arriving from Eastern Europe.

Racial slurs and phrases used in the production include: the n-word, ‘yid’, ‘cracker’, ‘stupid pollcack’,

‘kike’, ‘kraut’

Note regarding language

The Production Company acknowledges that some of the language which was

current in early 20th Century America and is part of this musical may cause

offence. However, given that Ragtime deals with race relations, the company

has chosen not to censor the use of this language.

RESOURCES

Straight Talk About the N-Word by Sean Price. 2011. Available at

https://www.tolerance.org/magazine/fall-2011/straight-talk-about-the-nword

“Funeral for the N-Word” (with Michael Eric Dyson and Roland Martin). 2008. American Morning, CNN.

Available at https://www.youtube.com/watch?v=T62PysJizXs

“Jay Z on the N-Word.” Oprah Winfrey Show. 2011. Available at http://www.oprah.com/omagazine/

oprah-interviews-jay-z-october-2009-issue-of-o-magazine/8

“Thug Is the Accepted Form of the N-Word” Richard Sherman. 2014. Available at https://

www.youtube.com/watch?v=OXOsSko2AFQ

HOW WE RESPOND SAYS A LOT

Productions of Ragtime have not been without controversy. In January 2017 Cherry Hill High School

East, in Cherry Hill, New Jersey began to mount a production of Ragtime. People in the community

objected to the language used. The school board held public meetings, the cast of the Broadway

revival of the show heard about it and reached out to the school, and the playwrights published a

response. The story is fascinating, and helps us as educators think about how to deal with texts that

have racist and defamatory language, from classics such as Huckleberry Finn to To Kill a Mockingbird,

to Monster .

Here is a link to the story and a letter from the Superintendent of Schools:

https://ncac.org/news/blog/free-speech-groups-urge-nj-school-to-reverse-censorship-of-performance-

of-ragtime

Brian Stokes Mitchell, who created the role of Coalhouse Waker Jr. in the original production of

Ragtime, responded:

https://www.njpen.com/ragtime-controversy-lands-cherry-hill-east-students-visit-from-broadway-star/

RESOURCES AND ACTIVITIES FOR TALKING ABOUT RACIST LANGUAGE

Let’s Talk: Discussing Race, Racism and Other Difficult Topics with Students

http://www.tolerance.org/sites/default/files/general/TT%20Difficult%20Conversations%20web.pdf

First Encounters With Race and Racism: Teaching Ideas for Classroom Conversations, The New York

Times

https://www.nytimes.com/2017/09/27/learning/lesson-plans/first-encounters-with-race-and-racism-

teaching-ideas-for-classroom-conversations.html

Racism: No Way—anti-racism education for Australian Schools

https://www.racismnoway.com.au/teaching-resources/anti-racism-activities/lesson-ideas/racist-

behaviour/

References and Moments of Violence, Death, & Sex

Willie Conklin and the fireman destroy Coalhouse’s car because Coalhouse is African American.

Sarah, a new mother who is stricken with grief, buries her newborn son in the ground.

Tateh attacks a man who tries to buy his daughter.

Characters recount and describe an arsonist setting numerous fires throughout New York, which

injure several fireman.

Characters recount and describe a gunman shooting and killing three people.

The song “What a Game” has violent tones.

Coalhouse and Younger Brother plot to blow up J.P. Morgan’s Library.

Sarah is killed by policemen who mistakenly believe she has a gun.

Characters describe the death of Evelyn Nesbit’s lover, Stanford White, who was shot and killed

by her husband Harry K. Thaw.

Coalhouse is shot and killed by the police.

Evelyn Nesbit’s performance in “Crime of the Century” contains sexual undertones. She uses the

phrase “ruined at the age of 15.”

AFTER THE SHOW

1. THE MUSIC

Discuss—why was the show called Ragtime?

Listen to ragtime music. Discuss how this style of music reflects the society in which it was

created and the issues of the day.

Students to choose a few contemporary songs. Interrogate how they relate to these songs and how

they reflect our society and our experiences. Examine style, rhythm and tempo, instrumentation,

lyrics, etc.

Examine some other examples of music which were more straightforward tools for social

commentary or criticism such as folk music and protest songs of the 60s etc.

2. MUSIC INFLUENCES AND INSPIRATION

Choose music from three different genres.

Have students listen to each piece and compose short pieces of fiction or poetry which relate to or

interpret each piece of music.

Discuss their interpretations and the various methods that each student used to accomplish this.

How do the texts relate to the music? What do they share in common? Afterwards, you might look at

some texts and show how their authors related to music through form or structure, rhythm, choice of

punctuation, historical references, etc.

3. THE CHARACTERS

Ragtime mixes real, historical figures with fictional characters. Ask students to choose a historical

character to incorporate into their own work of fiction. Discuss why they chose this person. What did

they change about them? Why? What attributes remained true to life or historical accounts?

4. THEMES AND ISSUES

Even though the musical is set in 1906, there is a lot that is still relevant for a contemporary

audience—in particular some of the themes and issues surrounding inequity, social injustice, protest,

racism and acceptance.

Discuss and brainstorm the themes and issues from the musical. Ask students to select one, and

compare and contrast how that particular issue plays out in society today. How much have we

grown? How much have we stayed the same?

Relate the events of the play Ragtime to events in the media today, then, compare and contrast.

Make an argument for or against the idea of societal progression since the 1900s in the area of racial

discrimination.

Make a T-Chart that lists the political and social events in the play. Make a list of current events.

Discuss similarities, ways issues have been addressed, what has been effective, and what is has

been adequately addressed.

5. RELATIONSHIPS

The bonds of family and friendship were tested and ultimately broken multiple times in Ragtime -

analyse the qualities that kept the friendships and families that were able to survive, together. Are

there universal characteristics of strong friendships, or is it all dependent on the circumstances of

the people’s lives?

6. THE CENTRAL QUESTION

Respected American theatre director, Anne Bogart, believes at the core of every play is a central

question. Here are some example central questions for Ragtime. Read and find one you agree

with, or create you own. Justify your choice. Share your ideas with the class.

What are you supposed to do?

What is the source of cruelty?

What does it mean to be a man?

What are the limits to compassion?

What are our children seeing and hearing?

Who gets to tell whose story?

Is there such a thing as justice?

Use one of the central questions to create a response to Ragtime.

7. RESPONSE AND ANALYSIS OF A MUSICAL

Taken from, ‘Nothing is Perfect: A Guide to Analyzing Musical Theater.’

Respond to the following prompts as soon as you can after seeing the show:

Story: Does the show tell an interesting story about relatable characters, with exposition, inciting

incidents, and a cathartic musical climax?

Music: Is the music tuneful, melodically and harmonically appropriate, and sufficiently emotional?

Lyrics: Are the lyrics clever, believable, and matching the characters’ speech patterns and vocabu-

laries?

Performance: Does the integration of music, lyrics, dialogue, and dancing seem consistent, and

does the climax of the show cause the listener or viewer to feel joyful and/or reflective?

Use this analysis as the basis of a personal response or review of the show.

Read reviews from the original Broadway production of Ragtime (1998):

https://www.nytimes.com/1998/01/19/theater/theater-review-ragtime-a-diorama-with-nostalgia-

rampant.html

https://variety.com/1998/legit/reviews/ragtime-3-1117436764/

Compare the original version of the production with the version staged by The Production Compa-

ny at Arts Centre Melbourne.