MARK AUERBACH
EAST HADDAM, Conn. – There’s something universal about the appeal of “Fiddler on The Roof”, a musical set in Tsarist Russia, based on Yiddish folk tales by Sholem Aleichem, as adapted by Joseph Stein, with music and lyrics by Jerry Bock and Sheldon Harnick. “Fiddler on The Roof”, which opened on Broadway in 1964, became one of Broadway’s most beloved musicals. Superlative material, memorably staged by Jerome Robbins, and designed by Boris Aronson with overtones of Marc Chagall, and a score full of (now) standards from “Sunrise, Sunset” to “If I Were A Rich Man” all add up to a musical theatre powerhouse. “Fiddler on The Roof” is one of the finest examples of Broadway’s Golden Age.
A half century later, “Fiddler on The Roof” remains as fresh, contemporary, heart-warming, and sentimental as it must have been back in the day. Goodspeed’s production, as directed by Rob Ruggiero, is faithful to the original. Michael O’Flaherty’s music direction and Dan DeLange’s orchestrations bring out the richness of the Harnick/Bock score, which blends the Klezmer sounds of Eastern Europe with the Broadway show tunes. Parker Esse’s choreography, in the style of Jerome Robbins’ original staging, is simply fantastic, giving the musical three showstoppers: the joyous “To Life (L’Chaim)”, the surreal “Tevye’s Dream”, and the dazzling wedding sequence with its bottle dance.
The ensemble of Goodspeed Musicals’ “Fiddler on The Roof” sing “To Life”. (hoto by Diane Sobolewski)
As for “Fiddler on The Roof” for those who haven’t seen it, It’s all about “tradition”. A Jewish milkman and his wife raise five daughters, who each test the boundaries of tradition, as they try to forge out happy lives in a changing world. They’re poor as synagogue mice in a poor Russian village, but pogroms are becoming a fact of life, and the Jews are being pushed out of their homes and forced to resettle.
The tiny Goodspeed stage is transformed into a Russian village set with birch forest and rough wooden houses in Michael Schweikardt.’s ingenious sets. Alejo Vietti’s worn costumes in palettes of browns and greys are perfect, and John Lasiter’d lighting design brings out the best in sets and costumes. Kudos to wigmaker Mark Adam Rampmeyer, who recreates the wigs often worn by the Orthodox Jewish women.
It’s difficult to separate the role of Tevye from its original star, the larger-than-life Zero Mostel, or some of the equally stage-comanding successors like Herschel Bernardi, Chaim Topol, or Harvey Fierstein. Goodspeed’s Tevye, Adam Heller, is one of the best Tevyes I’ve seen. He’s not larger than life, but his interpretation both showcases the character and the other players. Lori Wilner’s “Golde” (Tevye’s wife) is delightful, as are Tevye’s daughters Tzeitel, Hodel, and Chava (played by Barrie Kreinik, Elizabeth DeRosa, and Jen Brissman). I also really enjoyed the performances of Abdiel Vivancos as the student “Perchik”, Joy Hermalyn as the ghost “Frumah Sarah”, and David Perlman as “Motel” the tailor. Cheryl Stern is hilarious as “Grandma Tzeitel” but she misses the humor as Yente, the matchmaker (in the role that catapulted Bea Arthur to fame). The ensemble, many in multiple roles, are all terrific.
I expect we’ll see a 75th anniversary revival and a 100th anniversary revival of “Fiddler on The Roof” because its universal themes will remain vital for years to come. Goodspeed’s production is well worth the visit, and it’s a great introduction to good musical theatre for younger audiences–who ought to learn that a good musical is not measured by special effects, star turns, or pyrotechnics.
“Fiddler on The Roof” has already been extended through September 12.
Goodspeed Musicals presents “Fiddler on The Roof”. Music by Jerry Bock. Lyrics by Sheldon Harnick. Book by Joseph Stein. Based on Sholem Aleichem stories by special permission of Arnold Perl. Directed by Rob Ruggiero. Choreography by Parker Esse. Music direction by Michael O’Flaherty. Orchestrations by Dan DeLange. Scenic Design by Michael Schweikardt. Costume Design by Alejo Vietti. Lighting Design by John Lasiter. Sound Design by Jay Hilton. Through September 12, 2014. Goodspeed Opera House, East Haddam, CT. For tickets: 860-873-8668 or www.goodspeed.org
Mark G. Auerbach studied theatre at American University and the Yale School of Drama. He’s worked for arts organizations and reported on theatre for newspapers and radio.
