music dictionary defines "ragtime'' dryly as composed music (as opposed to improvised) syncopated over a march-style bass line. But it took a wisecracking Englishman wearing an orange and green striped jacket to breathe real life into the term last night.

When David Owen Norris sat down to the piano and began playing "Antiquary'' by his boyhood idol, Billy Mayerl, all that seemed missing was a grainy black and white silent film flickering against the black stage wall of City Hall theatre.

And that was appropriate enough; As Mr. Owen Norris later explained Mayerl, inspired by the new American sound of ragtime, once played piano accompaniments to silent films in England.

But even though last night's show was heralded as a ragtime extravaganza, Mr.

Owen Norris cast his musical net far and wide, from a spine-tingling rendition of Mayerl's classic "Smoke Gets in Your Eyes'' (which he dedicated to the Island's insurance companies) to an offbeat but effective treatment of Joni Mitchell's "Big Yellow Taxi''.

Entirely living up to American Scott Joplin's signature ragtime melody, Mr.

Owen Norris was indeed "The Entertainer''. (And in fact offered the piece as his first encore.) The Gresham Professor of Music (City of London) lectured a little, joked a lot and demonstrated a prowess on the keyboard that belied the almost casual atmosphere his programme conjured up. His manner was relaxed.

His style was impeccable.

Among the highlights of last night's show were the melancholy "Drowsy Blues'' by Alec Templeton, Mayerl's dreamy, sweet "Evening Primrose'' and Mr. Owen Norris's son Josiah's favourite (sympathy to Dad -- it sure didn't sound a simple bedtime ditty), "Robots'', also by Mayerl.

From Zes Confrey we heard "Greenwich Witch'', which reminded Mr. Owen Norris of rushing Ameri cans (and also of a joke, which he related) and the aptly titled "Dizzy Fingers''.

The ragtime era began in the late 1890s. Unlike jazz, which relies on improvisation, ragtime is, well, you know (see above). Its popularity transcended international boundaries (his final encore was a Czechoslovakian rag). It was American ragtime king Scott Joplin who inspired England's Meyerl, who then, as Mr. Owen Norris pointed out, inspired other Americans. The form's popularity lasted until the 1920s when jazz gained preeminence.

Though trained in the classics (his first ambition was to be a cathedral organist) and recipient of a plethora of international accolades and awards, Mr. Owen Norris's first order of business apparently was to have fun last night. And on that musical trip, he took the audience willingly along.

---- Steve Mundy THEATRE REVIEW REV