Ragtime has never been more relevant and Lear deBessonet’s epic production for Lincoln Center Theater where she has recently been installed as artistic director, fills the vast Vivian Beaumont stage with passion, pageantry and an uncompromising view of the American dream. The musical is especially timely now as the Trump administration attempts to retell our national story from a fraudulently rosy perspective.

E.L. Doctorow’s sleek, ironic novel emerged as a best-seller in 1975 as the Watergate scandal forced us to reevaluate our past. Through the intertwined stories of three disparate families in the early 20th century, Doctorow explored the American experience both glorious and shameful. African-American ragtime pianist Coalhouse Walker, Jr. attempts to live the American Dream, but when crushed by racism, he resorts to vengeful violence. Latvian immigrant Tateh forges a new identity and emerges from poverty to stake a claim in the infant media of moving pictures. A nameless wealthy white family, who has built their fortune on patriotic firework displays (get the symbolism?), finds it must adjust to the rapidly changing times or be left behind.

The 1998 musical adaptation manages to retain Doctorow’s subtle, almost clinical vision through Terrence McNally’s skillfully subtle shifting-perspective book while Stephen Flaherty and Lynn Ahrens’ rich, varied score added powerful sentiment. Flaherty’s music incorporates the accelerated tempo of Scott Joplin’s rags with Broadway pizzazz, coupled with Ahrens’ intricate and clever lyrics.

For this second Broadway revival (the first was in 2009), deBesonnet does not radically reimagine Frank Galati’s original staging as she did with James Lapine’s initial work on Into the Woods, but expands upon Galati’s blueprint. She keeps the movement flowing smoothly (David Korins’ suggestive scenery and Adam Honoré’s imaginative lighting shift the locales with speed and evocative power) and builds the emotional expression of the musical numbers to shattering climaxes. It’s like a musical mountain-climbing expedition and deBessonet guides us from peak to peak.

An enormous cast of 40 portrays a dazzling tapestry of communities, costumed by Linda Cho in period perfection. Joshua Henry delivers a dignified and disturbingly dangerous Coalhouse Walker. He seamlessly transforms from the gallant hopeful suitor of Sarah, the mother of his child, to a justifiably avenging angel of fury. Nichelle Lewis’ Sarah is equally moving. Their “Wheels of a Dream” is a showstopper. Lewis delivers a powerful “Your Daddy’s Son,” though her enunciation was somewhat blurry and I did have trouble making out all of Ahrens’ intense lyrics. This was my one cavil in the entire production. Caissie Levy charts Mother’s journey from protected housewife to independent woman with depth, especially in “Back to Before,” her declaration of discovering her own agency. Brandon Uranowitz is a wily and fiery Tateh, giving vent to his fury over the extreme economic oppression he faces and the canny intelligence which gets him out of it.

There’s also marvelous work on display from Anna Grace Barlow’s delightfully daffy Evelyn Nesbit, Rodd Cyrus’ commanding Harry Houdini, Ben Levi Ross’ conflicted Younger Brother, Colin Donnell’s frosty Father, Tom Nelis’ amusingly grumpy Grandfather, Shaina Taub’s forceful Emma Goldman, Jacob Keith Watson’s despicable racist fire chief, Allison Blackwell’s soaring solo mourner, and from two enchanting child performers, Nick Barrington and Tabitha Lawing. This is a rousing and revelatory Ragtime, powerfully depicting the many facets of American life, it’s three hours rush by, like a sleek roadster. Grab a ride as soon as you can.

Ragtime: Oct. 16—Jan. 4, 2026. Lincoln Center Theater at the Vivian Beaumont Theater, 150 W. 65th St., NYC. Running time: three hours including intermission. telecharge.com.