On the grand stage, under the glow of lights and the soulful hum of an all-Black orchestra, Scott Joplin’s Treemonisha — A Musical Reimagining made its U.S. premiere at the Harris Theater in Chicago as both a revelation and a reckoning. The sole surviving opera by Joplin, the legendary “King of Ragtime,” this production transcended music and stepped boldly into the realm of cultural restoration.
The Black Carpet Night took place on Friday, May 2, 2025, at 6:30 PM, when hundreds of people filled the hallways for the opening celebration. Ticket holders were welcomed with complimentary sparkling wine, a costume display, and a special performance by renowned ragtime pianist Reginald Robinson. The main performance kicked off around 7:30 PM and ran for about 2 hours and 30 minutes, including an intermission.
Chicago Southsider was on the scene as the event drew the who’s who of Chicago: ritzy art enthusiasts, philanthropists, investors, and cultural leaders eager to witness this landmark production, turning the Harris Theater into a glittering crossroads of art and influence.
The play opens in 1864, just a year before slavery was abolished, and then propels us 20 years forward—past the Reconstruction era and into the overlapping Gilded Age.
Set in 1884, Treemonisha tells the gripping story of a young Black woman born in the shadows of slavery, destined to become a beacon of unity for her divided community. Without giving too much away, the opera explores the tension between tradition and progress, the pull of ancestral roots, and the quest for identity in a rapidly changing world.
The performances are nothing short of captivating. Mezzo-soprano Alicia Hall Moran brings raw emotional power as Monisha, the freedwoman who raises Treemonisha, while Nicholas Davis delivers a commanding presence as her husband, Ned. Canadian soprano Neema Bickersteth shines in the title role of Treemonisha, her voice carrying both vulnerability and resolve. Tenor Ashley Faatoalia charms as Remus, Treemonisha’s suitor, and bass-baritone Cedric Berry electrifies the stage as Zodzerick, a Maroon leader. Together, they deliver performances that earned spontaneous applause from the audience.
Musically, the production is a triumph. Co-arranged by Grammy-winner Jessie Montgomery and two-time Grammy nominee Jannina Norpoth, who also performed as concertmaster, Treemonisha was conducted by the brilliant Jeri Lynne Johnson and performed by an all-Black orchestra. The score is a lush tapestry of Western and African sounds, resulting in an opera that feels both timeless and urgently contemporary.
Esie Mensah’s vibrant choreography added another dimension to the production, blending ragtime, gospel, spiritual, and classical influences into an upbeat and dynamic movement language. Her work brought the music to life through a captivating mix of styles that honored Joplin’s vision while reimagining it for today’s audience.
More than a century after Joplin’s original vision, Treemonisha arrives as a vital artistic statement for today. Joplin completed the original opera in 1910, pouring his savings into publishing the score himself after failing to secure a backer or producer. Though it was never fully staged in his lifetime, Treemonisha endures as a testament to his genius and determination.
For Chicago’s South Side and beyond, it’s a cultural moment that still resonates. Scott Joplin’s Treemonisha was powerful, riveting, and an absolute must-see for anyone who values art, history, and the enduring power of community.
The U.S. premiere of Scott Joplin’s Treemonisha at the Harris Theater runs from Friday, May 2, to Sunday, May 4. You can buy tickets here.
About On the Ground
On the Ground is a recurring series from Chicago Southsider that brings you into the heart of events, performances, and community moments as they happen. We show up, listen closely, and share stories rooted in the voices, visions, and vibrant experiences shaping our neighborhoods. Want us to be on the ground at your next event? Reach out to us at hello@chicagosouthsider.com and let’s build together.
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