Washington National Opera is bringing new life to the “King of Ragtime,” Scott Joplin and his only surviving opera, “Treemonisha,” March 7, 8 and 15 at Lisner Auditorium in Washington, D.C.
This newly commissioned adaptation by Washington National Opera features musical arrangement and orchestration by composer Damien Sneed and a revised story with dialogue and additional lyrics by playwright Kyle Bass, under the direction of internationally acclaimed mezzo-soprano Denyce Graves. The production blends ragtime, spirituals, Black folk traditions and classical operatic form in a revival of one of the richest works in the American repertoire.
Set in 1884 on a former plantation, the story follows Treemonisha, an educated freedwoman who challenges superstition and confronts local “conjurers” manipulating her community. Armed with literacy and conviction, she ultimately emerges as a teacher and leader — a figure of empowerment in a fragile era following slavery.
For Alexandria Crichlow, who portrays Beth, the opera’s themes remain deeply resonant.
“This was a time after [slavery] where African-Americans were already marginalized,” she told The Informer. “Now they’re coming into another marginalized section of life where they only make a third of their profits by sharecropping.”
Crichlow said Treemonisha’s courage to speak against injustice feels especially relevant today.
“It’s important to always have the courage to speak up against things that don’t seem right,” she said. “[In that time] they weren’t able to feel like they were truly liberated and had rights.”
Ernest Jackson, who plays King Cephus, previously performed in the production during its 2023 staging at Opera Theatre of Saint Louis. He welcomed the opportunity to revisit the work with old and new collaborators.
“I’m very happy to be part of the production,” Jackson said. “I think this is a great opportunity to showcase a Black woman in a role of power.”
That emphasis on Black female leadership runs throughout the cast’s reflections. Tichina Vaughn, who portrays Monisha, Treemonisha’s mother, drew parallels to political and cultural movements that uplift Black women as community leaders.
“I relate it a bit to a Kamala Harris situation where our [Black] women leaders are being lifted up and bringing our communities forward,” she told The Informer.
Vaughn praised the late Joplin for finishing the story, despite passing away before seeing it come to life on stage in 1972.
“This story is [rare] because Scott Joplin himself is known more for his ragtime reputation but one of his passions was classical music, so I think for that reason… it’s critically important,” she explained.
Brittani McNeill, who has worked with Washington National Opera since 2019 and plays Rose, hopes the production reaches beyond traditional opera audiences.
“Opera is for everyone,” McNeill said. “This one in particular can resonate with [people] because it’s about educating communities and moving them away from superstition and folklore that sometimes tends to keep people from progressing.”
For those on the fence about attending, Vaughn offered some advice.
“You need to come and watch this, it is indeed a true opera,” she emphasized.
Performances take place at Lisner Auditorium, 730 21st St. NW, Washington, D.C., with evening and matinee options available. Tickets and additional information are available through Washington National Opera.