Tag Archives: Billy Ensley

Confused and Abused Teens – With Unmistakable Talent

Preview:  Spring Awakening

By Perry Tannenbaum

For over a century, playwright Frank Wedekind was best remembered as the creator of Lulu, the libertine protagonist in two of his erotically charged dramas, Earth Spirit (1895) and Pandora’s Box (1904). Alban Berg combined the two works into one Lulu (1937), an opera that stands as one of the sexiest of the 20th century.

Then came 2006.

Wedekind’s notoriety was refueled for a new millennium when Steven Sater adapted the German’s first script, Spring Awakening, for an off-Broadway production. If Lulu was risqué and amoral, Spring Awakening was angry, raw, and a bit shocking – teen chaos rather than salon decadence. The score, composed and orchestrated by Duncan Sheik, certainly wasn’t opera. It was a wicked mix of sensuous, anguished ballads like “Touch Me” and “The Word of Your Body” juxtaposed with raging frenetic rockers like “The Bitch of Living,” “My Junk,” and “Totally Fucked.”

Schoolkids standing up rebelliously on their desks, dancing and stomping catatonically. Vilifying parents and teachers. Ecstatically screwing just before intermission. Even liberal newspapers had to tiptoe around the song titles, lyrics, and actions.

The Atlantic Theatre Company production was an instant sensation, picking up an armful of awards before transferring to Broadway that same year. Eleven Tony nominations and eight Tony Awards were added to the haul, including Best Musical. Somehow the Victorian repression, the withholding of sex education, and the perils of unprotected sex, backstreet abortions, and teen suicide of Wedekind’s 1891 script had leapfrogged into the 21st century in a theatrical triumph – with no mealy-mouthed concessions whatsoever to the older generation.

Underscoring the generic, unsympathetic nature of Wedekind’s adults, all 14 of them were portrayed by one male and one female actor. This was not merely a tragedy of star-crossed lovers. It was an explosively presented nightmare scenario of what can go wrong when adults refuse to discuss sex with their children.

And now this scorching musical hits Charlotte this Friday, barreling into our community theatre for a three-week run – including three Sunday matinees and two Saturday performances on June 1 at 8:00 and 11:30pm. Somebody at the Queens Road barn believes they’re going to sell a whole bunch of tickets. Nobody seems worried that we’ll experience a repeat of the Angels in America uproar that rocked the city in 1996, with aftershocks that ultimately capsized Charlotte Repertory Theatre in 2003.

“We have no trepidation about Spring Awakening being a bridge too far,” says executive director Ron Law. “Many young performers and audience members have lobbied for it, and it has always performed strongly in our show selection survey.”

Touring versions of the show came here in 2010 and 2011, but of course, these weren’t shows with local artists funded by local dollars. The feeling was, even then, that the city had changed and audiences had matured since the Angels debacle. But there is likely another factor at work. Theatre Charlotte has better prepped its audience than Rep.

Oleanna, Falsettos, and Miss Evers’ Boys were as far as Rep pushed the envelope before fielding Tony Kushner’s gay fantasia. At 501 Queens Road they’ve pushed further with its more diverse audience, bringing us The Full Monty, Rent, Hair, and La Cage aux Folles in recent years. One way or another, the unholy trinity – nudity, foul language, and homosexuality – have all been addressed.

“All those shows were huge box office successes for Theatre Charlotte, with little pushback,” Law reports. “For this show, we even offered season ticket buyers the opportunity to buy a package that did not include Spring Awakening. A very small number took us up on this.”

Caution was not altogether thrown to the winds in scheduling this potential powder keg. Some niceties were also observed on the production end, beginning with auditions for the roles of the kids crossing the threshold of puberty. Nobody was allowed to audition unless he or she would be 18 on opening night.

“There were many disappointed 15 and 16 year olds who love the show and couldn’t audition,” Law confirms.

Most of the teens who did audition were savvy theatre students, according to Law. Some have participated in Theatre Charlotte’s youth-oriented summer stock productions, and others have been groomed in the robust theatre programs of our local high schools.

Nominated for the prestigious Blumey Awards for high school musicals across metro Charlotte, three of the major players in Spring Awakening are so accomplished that they put a major crimp in director Billy Ensley’s rehearsal schedule.

Seniors at NW School of the Arts, Renée Rapp (Best Actress), Liam Pearce (Best Actor), and Maya Sistruck (Best Supporting Actress) all earned Blumey Award nominations for their work in the school’s presentation of Big Fish, which is nominated for Best Musical honors. As finalists, all three were spirited away to Belk Theater, rehearsing for multiple segments of last Sunday night’s award ceremonies, where they performed individually and together.

Rapp first landed a role at Theatre Charlotte when she was 10 and transferred to Northwest in her junior year. “They are both truly such talented and good-hearted human beings,” she says of Pearce and Sistruck. “Working amongst them all these years has helped me grow as a performer watching the dedication they put into what they do. We have so much love amongst the three of us that even in this especially stressful time with the Blumeys, Spring Awakening and graduation, they make every day and every rehearsal feel like a celebration for me.”

As Wendla Bergmann, Rapp launches the horrific scenario of Spring Awakening when she asks her mom how babies are made and gets a bogus answer. The only teen around who seems to have the lowdown is Melchior Gabor, a voracious reader who quietly shares the news with his shy neurotic bestie, Moritz Steifel – with explicit illustrations and written descriptions. But the atheistic, amoral Melchior does not share the facts of life with Wendla before he deflowers and impregnates her.

Dire consequences all around.

“Melchior has many layers to him,” says Pearce of this charismatic troublemaker. “He clearly wants to experience all of these activities he has read about but may not necessarily be ready to deal with the aftermath of what they may lead to. While he is extremely intelligent, he is still a teenager who has not completely grasped all of the knowledge he needs to be a functioning adult in society.”

Pearce isn’t altogether sure why he landed this plum role, but he has worked with Ensley – and choreographer Lisa Blanton – before at Theatre Charlotte in Jesus Christ Superstar. Ensley saw Pearce as a clear choice at his auditions, both as a singer and as an actor.

“Melchior needed to be a double threat actor singer,” Ensley says, “who could understand the commanding ‘big man on campus’ ego and the broken-hearted lover.”

In love with the misfit Moritz and abused by her father, Martha Bessell takes us to other dark regions of Wedekind’s story. “I always thought that her character arc was one of the strongest and most complex of the girls in the show, and I thought it’d be a wonderful challenge for me to take on,” Suskind says of Martha. “As for being nominated for Blumeys, it was quite nice to be able to link up our busy schedules and have a little ‘buddy’ looking out for any missed rehearsals or information. We were always on the same page.”

All three are also on the same page about delving into their troubled teen characters. They all give props to Ensley. Rapp offers the most detailed insights.

“I have heard countless people tell me how amazing working with Billy is,” she begins, “but it wasn’t until I had a one-on-one with him that I truly understood the depth of what they meant. He puts his heart into this production 100%, and that is so evident and inspiring for me. We sat and talked about myself and my character, and he really helped me break down what this show will mean. His direction is unmatchable. He works and tweaks things with such a specific eye, and I absolutely love it.”

      

Update: Renée Rapp took honors for Best Actress at the Blumey Awards on Sunday night, winning a trip to Broadway with Ethan Holtzman from Charlotte Latin School for a chance the national Jimmy Award on June 25. So who else won? Check it out here. Ceremonies will be rebroadcast on WTVI on May 29 at 8:00pm.

https://www.blumenthalarts.org/about-us/news/detail/blumenthal-performing-arts-announces-the-7th-annual-blumey-awards-winners-presented-by-wells-fargo

 

 

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Celebrity Pistol-Packing Rogues Deliver Guilty Pleasures in “Bonnie & Clyde”

Review: Bonnie & Clyde

By Perry Tannenbaum

Since the days of his greatest successes, with Jekyll & Hyde (1997-2001) and The Scarlet Pimpernel (1997-2000), most of Frank Wildhorn’s Broadway musicals haven’t run more than a month. That includes a revival of Jekyll, Wildhorn’s longest-running show, in 2013 and Bonnie & Clyde, which somehow couldn’t make it through the end of December – the highest grossing month of the year – in 2011. Hearing that the short-lived Bonnie & Clyde was coming to Matthews Playhouse of the Performing Arts roused a morbid curiosity for me: how could a notorious story that won six Oscars in 1968, including Best Picture, flame out so spectacularly in a musical adaptation? Knowing that Billy Ensley, one of Charlotte’s best, would be directing sealed my resolve to investigate.

With the appearance Bonnie Parker and Clyde Barrow as children at the top of the show, it quickly became apparent that Ivan Menchell’s book was not an adaptation of the sensational film. Unlike the Bonnie portrayed by Faye Dunaway, Menchell’s is a ravishing redhead rather than a blond. There’s never really a Barrow Gang, and though this Clyde aspires to fancy clothes, his dream didn’t come true in Matthews. Most puzzling of all, we don’t see Bonnie and Clyde snapping photos of each other – their most modern trait! – although the authentic period projections go way beyond mugshots. So it’s plausible to me now that the Broadway version of this musical didn’t strictly flop on its merits. Boomers expecting to see the style and gore of the iconic film were disappointed, while it’s very likely that younger theatergoers had never even heard of Bonnie and Clyde.

Armed with a reported $6 million budget, there were presumably more costume changes up in New York than Matthews designer Lisa Altieri provides for Bonnie, but with 20 people in the cast, four of them in multiple roles, Altieri is far from idle and contributes some very fine work. What really made this community theatre effort look like a million bucks was the scenic team of designer John Bayless and scenic change artist Beth Aderhold. Weathered wooden slats span the Fullwood Theatre stage, trisected by two sturdy vertical beams. The columns of slats can be raised like window shades, keeping the flow of action going cinematically as the slats rise to reveal new scenes – or slide back downwards to serve as rustic screens for the old-timey projections, mostly of newspaper headlines, mugshots, and snapshots of our celebrity public enemies. At critical moments, a two-seat jalopy showed up in the middle of it all, no less realistic than the photos I’ve seen of the Broadway roadster.

Not only did Ensley brilliantly contrive to keep the action moving, he brought ace talent to the lead roles and beyond. Joe McCourt, who plays Clyde’s vacillating older brother, Buck Barrow, has starred in numerous musicals at Theatre Charlotte in recent years, including Memphis and Avenue Q. Embittering Buck’s every breath, Emily Witte is his very Christian wife Blanche, after playing a similar spoiler role as Amneris in the Disney Aïda at Theatre Charlotte last fall. This bickering pair would have upstaged the title players if Ensley hadn’t found such strong protagonists as Steven Buchanan and Lindsey Schroeder.

Buchanan was definitely in his comfort zone performing edgier fare, for he played prominent roles in Queen City Theatre Company’s The Pride and Actor’s Theatre of Charlotte’s American Idiot last year. Here he sported a hairdo that was halfway between Hitler and punk, looking lean, Brando mean – in a tank top undershirt – and dangerous. Scene work with Bonnie is a tasty mix of tender and raw, but Buchanan is somewhat monochromatic under arrest or during his larcenous, murderous rampage, barking his commands and forsaking the Warren Beatty charm offensive of the film. Ensley should have occasionally reined him in a bit and reminded him that he’s wearing a microphone as well as a pistol.

Opening in the ensemble of Evita at CPCC Theatre the weekend after her last performance as Bonnie Parker, Lindsey Schroeder is the one new find among the principals. She takes to every aspect of Parker, most especially to her thrill-seeking, her narcissism, and her lust for Hollywood and pinup fame. Schroeder can belt too, so watch out for “How ‘Bout a Dance” and “Dyin’ Ain’t So Bad.” Overall, Wildhorn’s score wasn’t nearly as bothersome as you’d expect from an epic Broadway flop, but there are noticeable stretch marks on its beauty. Witte does a fine job on behalf of homebodies with “That’s What You Call a Dream,” but Blanche’s Christianity opens up a whole new sector of Gospelized expression that I didn’t recall from the movie. Church scenes are essentially extraneous to the main storyline, but it gave Wildhorn an excuse to widen the variety of his score. Off my radar since 2009, Phil Fowler came to the rescue for a couple of doses of “God’s Arms Are Always Open.” Even if it was a narrative detour, it was a rousing showstopper in the positive sense of the word.

Holiday Grow and Donavan Abeshaus were both excellent in introducing us to the young Bonnie and Clyde. Carol Kelly and Scott C. Reynolds were winsome as Clyde’s rusticated parents, and Carol Weiner was prim yet warm as Bonnie’s mom, quietly urging her daughter to come to her senses – and choose the hometown sheriff who clearly adores her. Andrew Tarek plays that role beautifully, with seething jealous fury toward Clyde and tender hat-holding deference toward Bonnie. I found myself hating this Sheriff Hinton without a good reason why, and I surprised myself once again by rooting for Bonnie and Clyde here almost as fervently as I did in the 1967 film, despite the trail of crime and bloodshed they insouciantly left in their wake. Celebrity pistol-packing rogues are likely unique to America, more to our shame than our glory.

Strong CP Cast Unleashes Newfound Power of “Ragtime”

Ragtime Promo Photos

Review: Ragtime The Musical

By Perry Tannenbaum

Like Fiddler on the Roof, another musical with wide vistas, Ragtime The Musical begins its voyage back to 1906 by introducing us to groups of people. The stage begins to fill with comfortable, well-mannered white folk. Oppressed black folk, struggling for dignity and survival, form a crowd at the opposite side of the stage. Immigrants, disoriented and bewildered in the Promised Land, fill in the divide. Social activists Booker T. Washington and Emma Goldman flank the groups, along with the celebrities who tower above them all, including Harry Houdini, Henry Ford, J.P. Morgan, and Evelyn Nesbit.

But while shtetl life in Czarist Russia remains quaint, picturesque, and old-fashioned with each new revival of Fiddler, the issues revisited in Ragtime – racial prejudice, women’s second-class citizenship, and intolerance toward immigrants – have bounced back in our faces with frightful new life. The superiority we could feel toward the injustice suffered by Coalhouse Walker Jr. has evaporated since the days when Ragtime was published by novelist E.L. Doctorow in 1975 and adapted by Terrence McNally for the 1998 musical. Trayvon Martin, Ferguson… the list goes on.

Women’s rights and the welcoming attitude symbolized by Lady Liberty are also threatened by the reactionary sentiments unleashed by the 2016 election, the odious barrage of anti-Muslim rhetoric, and the post-inauguration travel ban. So the current CPCC Theatre production of Ragtime is not only timely, but thanks to one of the best casts ever assembled on the Halton Theater stage, it’s also newly powerful.

Tyler Smith delivers the most scorching performance as Coalhouse, particularly in the ragtime pianist’s valedictory solo, “Make Them Hear You,” when he’s on the brink of martyrdom. It’s as devastating a Coalhouse as I’ve ever seen, including the original Broadway production and the first national tour. But the taunting and race-baiting that come at Coalhouse from Josh Logsdon as New Rochelle fire chief Will Conklin no longer seem to be clichéd. Where Brian Stokes Mitchell on Broadway might have asked himself “how would I have felt 90 years ago?” Smith is merely tapping into how he feels – and it’s very fierce and raw.

The voice and delivery are Broadway-worthy, so it’s not at all a slight when I say that Smith’s partner, Brittany Harrington, nearly reaches the same lofty level as Sarah. When they reconcile and introduce “Wheels of a Dream,” seated in front of their Model T roadster, Harrington reminds us that this dream belongs to them both. It’s a tribute to their combined power that director Tom Hollis nearly empties the stage of the entire ensemble when the song is reprised at the end as an anthem. Together, as the happy-ending segment of the cast strolls into the horizon, Smith and Harrington sing them off.

What struck me by surprise was how much more forcefully the peaceful Mother’s story resonates. It’s quite natural to think of Mother as one of the handy junctions in this artfully interlaced tale. She welcomes Sarah and her newborn baby into her New Rochelle home, drawing the abandoned Coalhouse in pursuit – before he even realizes that he is the father of her child. Younger Brother, a member of the same well-to-do household, has a string of idols, including Nesbit and Goldman, before joining Coalhouse after the bold seeker of justice has taken over J.P. Morgan’s Manhattan library.

Ragtime Promo PhotosWhile all this spectacle rages around her, Mother has begun to evolve, almost from the moment that Father sails off with Admiral Peary on his expedition to the North Pole. After welcoming Sarah and the newborn into the household, her empathy widens to Coalhouse. Smith exudes a Nat “King” Cole kind of savoir-faire at the keyboard, so we’re not surprised. Yet Grandfather (Brian Holloway) is horrified and, after he returns from his explorations, so is Father.

But in the intervening year after her audacious decision to open her doors to Sarah, Mother has discovered that she has a voice. Not a small revelation when it comes more than three presidential elections before she will get the vote.

So while Andy Faulkenberry has a fine revolutionary zeal as Younger Brother, while Megan Postle breathes Mosaic fire as Emma Goldman, and Patrick Ratchford is extraordinarily patrician and privileged as Father – one of his best-ever outings – it was Lucia Stetson as Mother who truly bowled me over. The arc of Stetson’s journey, from “What Kind of Woman” when she first meets Sarah to “Back to Before” when she realizes she cannot continue under Father’s restrictions, is stunning and inspiring. This is how much a person can evolve. To his credit, Ratchford lets us know that Father has also budged slightly from his bigotry when his brave stint as a hostage is done.

In a way, Billy Ensley personifies all immigrants as Tateh, who arrives at Ellis Island at precisely the moment when Father is embarking on his polar adventure. J.P. Morgan, Goldman, and Houdini are all wrapped into Tatah’s dreams of “Success” and disillusionment, but neither Doctorow nor McNally soft-pedal his Jewish heritage. Right before his wide-ranging fantasia, Ensley sings “A Shtetl Iz Amereke” in his first song, faring better with the Yiddish than the chorus of immigrants behind him.

Houdini, a circus-like attraction in Tim Eldred’s portrayal, likens achieving success to escaping from a cage, but it’s Goldman, a fellow Jew, who speaks home truths. When Tateh wraps his daughter (Annabel Lamm) in a prayer shawl to combat the cruel cold, Emma says his rabbi would approve. Tateh is indeed a role of Houdini tricksiness as he begins by cutting out silhouettes of celebrities, later toils and goes on strike at a Massachusetts textile mill, and finally becomes the quintessential American success story when he reinvents himself as an Atlantic City filmmaker, Baron Ashkenazy.

Against the sunniness that Ensley brings to this epic musical, Keith Logan as Booker T. Washington and John DeMicco as J.P. Morgan help to shape the dark tragedy at the Morgan Library. It seems so much more inevitable to me now than it did when I first saw the denouement in 1998. If we can’t trust policemen to hold fire in 2017 when a black man surrenders with his hands up, how could we expect that they’d behave otherwise before World War I?

“We are all Coalhouse,” the ensemble sings in the somber aftermath – with a fresh sting. These words now ring as true as yesterday’s headlines. Much more in this CP revival of Ragtime may strike you that way.

 

American Reset Brings New Relevance to “Ragtime”

Ragtime Promo Photos

Preview: Ragtime

By Perry Tannenbaum

Things were so different in 1906, when E.L. Doctorow’s Ragtime begins. Theodore Roosevelt, a conservationist Republican, was in his second term at the White House. The wave of immigrant Jewish refugees, fleeing pogroms in Russia, was at its peak.

American women would have to wait three more presidential elections before they could vote, but the charismatic Emma Goldman was one of the strong voices agitating on the streets. Jazz had yet to be born in New Orleans, and the African-American superstars who sparked its popularity were still children, but Scott Joplin had already codified the architecture of ragtime.

When Terrence McNally adapted Doctorow’s 1975 novel for the musical that opened on Broadway in 1998, costumes worn by Goldman, by Tateh the Jewish immigrant, and by ragtime piano player Coalhouse Walker added to my impression that Ragtime was so yesterday. Women had already ascended to high elective offices and had figured prominently in presidential politics. Jewish immigrants and their descendants had crafted the very framework of Hollywood’s studios and Broadway’s musical theatre. Satchmo and the Duke were far in the rearview mirror of American cultural history, and Michael Jackson was deep into his reign as the King of Pop.

Surely we had matured as a nation since those primitive days Doctorow and McNally chronicled. Each time I saw Ragtime again, in 2001, 2005, and especially in 2011 – when Barack Obama was President, and Hillary Clinton, his most formidable opponent in the 2008 election, was Secretary of State – my sense of our superiority and progress as a nation continued to grow.

Then came 2016. The shocking election result. The inauguration. The women’s demonstrations across America and across the ocean. The opening assault on immigration.

Or how about Trayvon Martin, Ferguson, and the cavalcade of atrocities posted to social media since early 2012? When Ragtime arrives this weekend at Halton Theater in a new production by CPCC Theatre, it won’t seem as quaint and primitive as it did five years ago. In so many ways, we’ve punched the reset button.

When I saw Brian Stokes Mitchell as Coalhouse, the rousing song he introduced, “Wheels of a Dream,” seemed to be dreaming of today – or 1999, when I saw Mitchell at the Ford Theatre on 42nd Street, and the whole ensemble transformed “Wheels of a Dream” into an anthem at the end of the show. This week, when Charlotte powerhouse Tyler Smith takes on Coalhouse, I’ll have to humbly concede that his anthem is still envisioning a better tomorrow that hasn’t come.

Ragtime Promo Photos

Smith was never under any illusions. “This country was founded on principles that were never all-inclusive,” he says. “Our recent presidential results showed the world how much racial hatred still looms here.”

After a couple of lightweight roles at CP in last winter’s Irving Berlin revue and last summer’s Sister Act, Megan Postle is eager to show some range – and depth – as Goldman. “I have a personal attachment to Ragtime,” Postle reveals. “It was my first Broadway show. My aunt took me to see the original cast.”

One of the fascinating things about Ragtime is its mix of historical and fictional characters. Doctorow also gives cameos of varying lengths to J.P. Morgan, Booker T. Washington, Harry Houdini, Henry Ford, Admiral Peary, and Evelyn Nesbit.

But none of the historical characters is altered more in trafficking with Doctorow’s fictional characters than Emma, who sheds her anarchist and assassin tendencies. “Goldman is the Greek chorus for Ragtime,” says Postle. “She speaks for all members of the human race who feel there is inequality.”

Emma also helps to stitch the various strands of the plot together. Coalhouse and Tateh head two of the three families that anchor this story. They are the outsiders while the third family, prosperous inhabitants of New Rochelle, complete the New York triangle of the story. Sailing off to join Admiral Peary’s polar expedition as we begin, the Father waves to Tateh, who is on a raggedy ship that has nearly completed its voyage across the Atlantic to Ellis Island.

From that point, the story forms an epic arc that resolves gracefully as the full company delivers its epilogue. Along the way, we glide past a labor strike by exploited millworkers in Massachusetts, Goldman’s galvanizing oratory, horrid police brutality, and audacious, explosive, vengeful responses from Coalhouse.

Smith admits that racial issues have heated up since the most recent 2009 revival of Ragtime on Broadway and the end of the Obama presidency.

“Today’s Coalhouse is every father, husband, brother and son killed without proper justice being served,” he said. “Every wife, sister, mother and daughter who have to feel the grief and bear the weight of losing a lost one while nobody seems to care. People like Eric Gardner, Trayvon Martin, Keith Lamont Scott, the mothers of all those murdered in Chicago. There is a line sung in the show saying ‘we’re all Coalhouse.’ It hits home because it is true.”

Tom Hollis, CP’s drama chair, chose Ragtime for the 2016-17 season back in the spring of 2015, around the time when the announcement of Donald Trump’s candidacy was greeted with more laughter than alarm. Hollis considered it then in the vein of 1776, the musical that was already set to run last September, just before the first presidential debate.

He still does. “When we were doing 1776 in the fall of 2016, we were constantly being struck by the parallels to life today,” Hollis says. “Each generation of Americans has had to face coming up with an answer to these issues because they are woven into the fabric of our country. That we haven’t been able to find a permanent solution is the sad irony of our history.”

A hard, tragic compromise on slavery clouded the happy ending of 1776, and what happens to Coalhouse clouds the ending of Ragtime. A member of the New Rochelle family who was inspired by Goldman ultimately vows to keep Coalhouse’s story alive, while Tateh achieves the American dream.

Billy Ensley, a mainstay of the CPCC Theatre for decades, will play Tateh at the Halton. It’s just the latest in a series of Jewish roles that he has played over the course of his acting career, including Eugene in Neil Simon’s Broadway Bound and two ill-fated historical figures, San Francisco activist Harvey Milk and Atlanta’s Leo Frank. Wrongly convicted of the 1913 murder of Mary Phagan in Atlanta – and subsequently lynched – Frank was the tragic hero of Alfred Uhry’s Parade, presented at the Halton in 2006.

So for Ensley, it’s a journey back to the same period with a similar rueful takeaway, even if Tateh does end happily.

“Current events regarding immigration have only strengthened the way I have always felt about those that are marginalized, forgotten, discriminated against,” Ensley says. “We all deserve a chance to live fulfilling, safe and happy lives, and those of us that have that already should do what we can to see to it that others less fortunate can as well. Our country was built by immigrants.”

Ensley offers advice for immigration opponents: “For those today in favor of a closed-off America, I suggest a trip to Ellis Island and a little research on where the people came from that made this country the wonderful and rich country that it is.”

Travel advisory: Ellis Island is just a short boat ride away from the Statue of Liberty, depicted on the cover of numerous editions and translations of Ragtime.