Came to the comments to see if anyone was talking about “the BLOOD and the pain”. Why aren’t people talking about “the BLOOD and the pain”? I had to rewind that several times over. It’s incredible.
I saw LaChanze shortly after she replaced Audra McDonald in the Broadway company of Ragtime, in January 1999. It remains one of the most memorable performances of my life. She really lived every moment of that character. A thrilling, in-the-moment performance.
I remember seeing LaChanze on Broadway as Sarah and two decades later, her primal growl of "BLOOD" still is firmly in my brain. Thank you for posting this and shaking loose that memory, it's been awhile!
What a triumph! The show deserved much better than it got for so many reasons. Coming in in 98’ vs. brining the show directly in from Toronto was the fatal choice made by Livent - it would have opened in a so-so year and done very well. Instead it opened up against what turned out to be a juggernaut in The Lion King. Still - it is one of my all-time favorite musicals. That original cast you simply can’t touch and Aherns & Flarerty’s score in my opinion is one of the truly great scores, befitting a remarkable story about this country’s ability or willingness to change. Still give me chills listening to it to this day. A perfect choice Spiderwoman on this very important day-thank you again for all you do!
100% agree with you. The Toronto production was nearly a master piece, even with some scrappy edges, it felt like a classic musical and also contemporary for it's time. Even the score, although i enjoyed what came to Broadway, overall the score as it was set when it finished in Toronto was so good. It even got raves in Toronto, the city that hates everything. The other mistake was Garth was unable to self edit so he wanted to over stuff the show adding unnecessary spectacle mistaking it as charm instead of the charm the show already had in Toronto. The time it got to Broadway found the show took itself way too serious. If they revive it (and not that odd 2009 revival...its just odd) they go back to the Toronto finale book and work from there again...who knows maybe it will come back Chicago style and run forever...lol
@@TDW8964 well said. This ironically enough also spelled the death blow for Livent. I can’t remember who said it in the Drabinsky documentary, but it was something to the effect of “it was Garth’s worse nightmare-80% houses from the start”. I also will forever take issue with Brantley’s review in The NY Times...one of the big misses of his career as Chief Drama Critic. Add it all together and it was unfortunately the perfect storm.
@@christopherbush9027 it blows my mind how so many misses ruined probably the best Broadway musical to come out of the 90's. Oh that Ben literally put the Tony into Lion Kings hand. As for Garth, i do still think he is brilliant, his ideas and heart have good intention, as a young performer in Toronto he really made North York/Toronto buzz like a theatre town at all levels, the talent that came into the city, from Cats, Phantom & Joseph alone, the theaters that were refurbished to their beauty instead of bull dozed into the ground, a tradition of Toronto and its History. He brought an energy to the city that the Mirvish's could never do (Les Miz and Crazy For You might have been their best efforts building Canadian talent) The book keeping practices obviously was wrong, but he was literally gambling with Ragtime that just adds another crazy layer to all this...he was the opposite of Leo and Bloom, they had a sure fire flop turn hit, Garth had a sure fire hit that flopped...and they both went to jail...lol. sorry could go on forever...Its an amazing story and study of show biz!
@@TDW8964 Ah the glory days of Toronto theater! I grew up in Rochester and made many many trips up there to enjoy first rate productions of so many great Broadway shows! To this day the gloriously restored Pantages Theater was my favorite place to see Phantom. I was there the night of its tenth anniversary and it still remains one of the great theater nights of my life!
It's amazing that this 1997 bootleg has been run through a video stabilizer and it still looks crystal clear, it says a lot about the quality of original video! I also love hearing the audience cry ha Thanks for video :)
@@CeliniacForLife the description of the video says 1997, which makes sense because that's when Ragtime had its out of town tryouts and LaChanze played Sarah.
Such a tough song to sing, and she nails it, she owns it. I saw one of the U.S. tours of this show in San Francisco. I felt like the actress who played Sarah really had to push to meet the big demands of this song. So hard to do after Audra McDonald. Not an issue with LaChanze here. She's amazing.
Does a video/audio of Stephanie Mills singing this exist? She played it in chicago in 1999 near the end of the run. Knowing her vocals in "The Wiz" and "Children Of Eden" I assume it would sound amazing.
January 18, 1998 Happy Anniversary Ragtime. Opened at the formerly Ford Center in NYC on this day (not with LaChanze, but with Audra McDonald). Know/knew many people associated with that show.
Tonally not my favorite, but I did enjoy the grit that she added to the role/vocal. A mixture of her and Audra would be *chefs kisses*. Glad this recording exists tho.
LaChanze has a much more vocally raw, earthy take on Sarah’s pain at this moment in the show than Audra did. Both are amazing actresses but they have radically different styles of performance. Each deserves praise as both are phenomenally gifted.
Ooh... Daddy played piano, Played it very well. Music from those hands could Catch you like a spell. He could make you love him 'Fore the tune was done. You have your daddy's hands. You are your daddy's son. Ooh... Daddy never knew That you were on your way. He had other ladies And other tunes to play. When he up and left me, I just up and run. Only thing in my head- You were your daddy's son. Couldn't hear no music, Couldn't see no light. Mama, she was frightened, Crazy from the fright. Tears without no comfort, Screams without no sound. Only darkness and pain, The anger and pain, The blood and the pain! I buried my heart in the ground! In the ground- When I buried you in the ground. Daddy played piano. Bet he's playing still. Mama can't forget him. Don't suppose I will. God wants no excuses. I have only one: You had your daddy's hands. Forgive me. You were your daddy's son.
"Ragtime" had its world premiere in Toronto at the end of 1996. The role of Sarah was created there by Audra McDonald. The Toronto production continued its run while the US premiere began in L.A. in June 1997. Brian Stokes Mitchell was moved from Toronto to L.A. and LaChanze was Sarah in L.A. Audra was presumably still playing Sarah in Toronto through summer '97, and she would continue as Sarah for the 1998 Broadway opening. LaChanze took over as Sarah on Broadway in December 1998.
@Fergus Murray I made one mistake above, now corrected: Judy Kaye did not begin playing Emma Goldman until she opened with the L.A. company. Camille Saviola created the role of Emma Goldman in Toronto and presumably continued to the end of the Toronto run. But she did not go to Broadway, and Judy Kaye got to continue on to NY. Alton Fitzgerald White took over from Brian Stokes Mitchell when Mitchell left Toronto to lead the L.A. company.
La Chanze is the best in this role, including over Audra, IMO. I worked this show as an usher, then at stage door at the Shubert Theater in Los Angeles. This was the American premiere. Martia Mtzman, John Dosset and John Rubenstein also stood out as well as an unkown named Scott Carollo.. La Chanze seemed like the poor and ignorant but happy wife of Coal House. For some reason, Audra always feels more upper class, and sings more operatic. Thought she was the best until I saw, heard La Chanze. Use your eyes and ears to decide. Both are perfect however, to my eyes and ears.
Came to the comments to see if anyone was talking about “the BLOOD and the pain”. Why aren’t people talking about “the BLOOD and the pain”? I had to rewind that several times over. It’s incredible.
Literally came to the comments for this exact thing. My GOD!
LITERALLY
I saw LaChanze shortly after she replaced Audra McDonald in the Broadway company of Ragtime, in January 1999. It remains one of the most memorable performances of my life. She really lived every moment of that character. A thrilling, in-the-moment performance.
I remember seeing LaChanze on Broadway as Sarah and two decades later, her primal growl of "BLOOD" still is firmly in my brain. Thank you for posting this and shaking loose that memory, it's been awhile!
What a triumph! The show deserved much better than it got for so many reasons. Coming in in 98’ vs. brining the show directly in from Toronto was the fatal choice made by Livent - it would have opened in a so-so year and done very well. Instead it opened up against what turned out to be a juggernaut in The Lion King. Still - it is one of my all-time favorite musicals. That original cast you simply can’t touch and Aherns & Flarerty’s score in my opinion is one of the truly great scores, befitting a remarkable story about this country’s ability or willingness to change. Still give me chills listening to it to this day. A perfect choice Spiderwoman on this very important day-thank you again for all you do!
100% agree with you. The Toronto production was nearly a master piece, even with some scrappy edges, it felt like a classic musical and also contemporary for it's time. Even the score, although i enjoyed what came to Broadway, overall the score as it was set when it finished in Toronto was so good. It even got raves in Toronto, the city that hates everything. The other mistake was Garth was unable to self edit so he wanted to over stuff the show adding unnecessary spectacle mistaking it as charm instead of the charm the show already had in Toronto. The time it got to Broadway found the show took itself way too serious. If they revive it (and not that odd 2009 revival...its just odd) they go back to the Toronto finale book and work from there again...who knows maybe it will come back Chicago style and run forever...lol
@@TDW8964 well said. This ironically enough also spelled the death blow for Livent. I can’t remember who said it in the Drabinsky documentary, but it was something to the effect of “it was Garth’s worse nightmare-80% houses from the start”.
I also will forever take issue with Brantley’s review in The NY Times...one of the big misses of his career as Chief Drama Critic. Add it all together and it was unfortunately the perfect storm.
@@christopherbush9027 it blows my mind how so many misses ruined probably the best Broadway musical to come out of the 90's. Oh that Ben literally put the Tony into Lion Kings hand. As for Garth, i do still think he is brilliant, his ideas and heart have good intention, as a young performer in Toronto he really made North York/Toronto buzz like a theatre town at all levels, the talent that came into the city, from Cats, Phantom & Joseph alone, the theaters that were refurbished to their beauty instead of bull dozed into the ground, a tradition of Toronto and its History. He brought an energy to the city that the Mirvish's could never do (Les Miz and Crazy For You might have been their best efforts building Canadian talent) The book keeping practices obviously was wrong, but he was literally gambling with Ragtime that just adds another crazy layer to all this...he was the opposite of Leo and Bloom, they had a sure fire flop turn hit, Garth had a sure fire hit that flopped...and they both went to jail...lol. sorry could go on forever...Its an amazing story and study of show biz!
@@TDW8964 Ah the glory days of Toronto theater! I grew up in Rochester and made many many trips up there to enjoy first rate productions of so many great Broadway shows! To this day the gloriously restored Pantages Theater was my favorite place to see Phantom. I was there the night of its tenth anniversary and it still remains one of the great theater nights of my life!
Wow, I love LaChanze. She really brought her own version in this very moving song.
Holy fucking hell. THAT was something else.
Magnificent. Thank you for continuing to get theatre fans through this pandemic
It's amazing that this 1997 bootleg has been run through a video stabilizer and it still looks crystal clear, it says a lot about the quality of original video! I also love hearing the audience cry ha Thanks for video :)
@@CeliniacForLife the description of the video says 1997, which makes sense because that's when Ragtime had its out of town tryouts and LaChanze played Sarah.
Just wow! Her performance brought me to tears. Brilliant!
Such a tough song to sing, and she nails it, she owns it. I saw one of the U.S. tours of this show in San Francisco. I felt like the actress who played Sarah really had to push to meet the big demands of this song. So hard to do after Audra McDonald. Not an issue with LaChanze here. She's amazing.
Now THAT'S a mother fucking tone.
Every time you post a new video now I’m concerned that another Broadway legend has departed 😭 Thank goodness LaChanze is still here with us!
Let's hope I don't have to do any more memorial videos for a very long time.
Love when I see a legendary Instagram illustrator on here
God, and just last week I was looking for videos of LaChanze in Ragtime! It's such a different approach, dramatically and vocally! It's fascinating.
wow this is the best version of the song I've heard by far. She is brilliant
Beautiful rendition
I love LaChanze.
Oh how she shatters my heart into a million pieces.
was looking for a stephanie mills capture last night, this is stunning as usual!😻😻
I forgot that Stephanie Mills had played Sarah in one of the companies of the Livent "Ragtime."
I was lucky to see most of the LA cast when they went to Vancouver. Just brilliant (and it should be pointed out that this role was written for her)
Does a video/audio of Stephanie Mills singing this exist? She played it in chicago in 1999 near the end of the run. Knowing her vocals in "The Wiz" and "Children Of Eden" I assume it would sound amazing.
I'm desparate to find this now, omg
I remember seeing her and Hinton Battle in the Chicago company. Absolutely incredible.
La Chanze is such a beautiful voice for all of us she’s super talented she is a successful producer and she is kind. i admire her tremendously
January 18, 1998 Happy Anniversary Ragtime. Opened at the formerly Ford Center in NYC on this day (not with LaChanze, but with Audra McDonald). Know/knew many people associated with that show.
WOW!!! She killed this--all belted BRAVO L!
I saw her in the Chicago production. Amazing. Hinton Battle as Colehouse.
That was fantastic! 👏🏾👏🏾👏🏾 BRAVO!
I loved Audra's version, but it's almost too beautiful (still mind-blowing) but this is really raw and gut-wrenching.
Life-changing.
Tonally not my favorite, but I did enjoy the grit that she added to the role/vocal. A mixture of her and Audra would be *chefs kisses*. Glad this recording exists tho.
Ummm, who are you? Gurl bye ✋
Insincere, you obviously did not listen to it, lmao!
@@rickstalentedtongue910 it’s okay to have a difference of opinion. Have a lovely day. 😁
@@wiz337 True, but, haha, c'mon
@@rickstalentedtongue910 i respect you and your opinion. 🥰
LaChanze has a much more vocally raw, earthy take on Sarah’s pain at this moment in the show than Audra did. Both are amazing actresses but they have radically different styles of performance. Each deserves praise as both are phenomenally gifted.
This women’s voice is absolutely amazing . Thanks spiderwomen. Just curious, do you have any more video of Vanessa Williams in spiderwomen?
Yes.
I would love to see some. I’m a huge fan and never got a chance to see her in it.
Ooh...
Daddy played piano,
Played it very well.
Music from those hands could
Catch you like a spell.
He could make you love him
'Fore the tune was done.
You have your daddy's hands.
You are your daddy's son.
Ooh...
Daddy never knew
That you were on your way.
He had other ladies
And other tunes to play.
When he up and left me,
I just up and run.
Only thing in my head-
You were your daddy's son.
Couldn't hear no music,
Couldn't see no light.
Mama, she was frightened,
Crazy from the fright.
Tears without no comfort,
Screams without no sound.
Only darkness and pain,
The anger and pain,
The blood and the pain!
I buried my heart in the ground!
In the ground-
When I buried you in the ground.
Daddy played piano.
Bet he's playing still.
Mama can't forget him.
Don't suppose I will.
God wants no excuses.
I have only one:
You had your daddy's hands.
Forgive me.
You were your daddy's son.
I love the LaChanze.. god knows I do.. but this role belongs to Audra McDonald
Wow 😭😭😭
I mean, she's beyond brilliant, but why are the visuals content aware?
Hey posting this here so you might see it. Do you have the full thing of seussical or do I know where to find it? I have been searching for years lol
Does anyone know why they lowered the key it sounds like she has great high notes?
I assume because her money notes are in high belt, which this key shows off
and just like that i forgot that Audra even played this part...just wow
La Chanze is my favorite in this role, no apologies.
Wow
What key is this?
Was LaChanze filling in for an unavailable Audra, or was LaChanze the originally intended Broadway Sarah?
"Ragtime" had its world premiere in Toronto at the end of 1996. The role of Sarah was created there by Audra McDonald. The Toronto production continued its run while the US premiere began in L.A. in June 1997. Brian Stokes Mitchell was moved from Toronto to L.A. and LaChanze was Sarah in L.A. Audra was presumably still playing Sarah in Toronto through summer '97, and she would continue as Sarah for the 1998 Broadway opening. LaChanze took over as Sarah on Broadway in December 1998.
@@auroraspiderwoman5886 Oh cool, who else was in the original LA cast?
@@fergusmurray1828 Brian Stokes Mitchell, LaChanze, Marcia Mitzman Gaven, John Rubinstein, John Dossett, Judy Kaye, Scott Carollo, Jason Graae
@@auroraspiderwoman5886 Sorry to bother you again, but who replaced Kaye and Mitchell in Toronto?
@Fergus Murray I made one mistake above, now corrected: Judy Kaye did not begin playing Emma Goldman until she opened with the L.A. company. Camille Saviola created the role of Emma Goldman in Toronto and presumably continued to the end of the Toronto run. But she did not go to Broadway, and Judy Kaye got to continue on to NY. Alton Fitzgerald White took over from Brian Stokes Mitchell when Mitchell left Toronto to lead the L.A. company.
lachanze is brilliant but like why is the camera lense look like it's taken several shrooms/hallucinogenics???
Video stabiliser.
It’s also just old bootleg footage. Don’t expect HD.
Not sure how I feel about this... Audra does this song so masterfully with many colors and dynamics. And she can count 😂
La Chanze is the best in this role, including over Audra, IMO. I worked this show as an usher, then at stage door at the Shubert Theater in Los Angeles. This was the American premiere. Martia Mtzman, John Dosset and John Rubenstein also stood out as well as an unkown named Scott Carollo.. La Chanze seemed like the poor and ignorant but happy wife of Coal House. For some reason, Audra always feels more upper class, and sings more operatic. Thought she was the best until I saw, heard La Chanze. Use your eyes and ears to decide. Both are perfect however, to my eyes and ears.