The current revival of Fiddler on the Roof is a highly
satisfying production with a solid cast, exuberant choreography, and a
memorable score by the legendary team of Sheldon Harnick and Jerry Bock. The book of the show by Joseph Stein,
is based on the short stories of Sholem Aleichem. It centers on Teyve (Danny Burstein), a milkman; his wife,
Golde (Jessica Hecht) and five daughters all who live in the small Russian town
of Anatevka. It is a hard and
demanding existence where the old ways are rapidly changing. The focus of these changes are brought
to the fore by Teyve’s three eldest children who’s courtship and marriage
challenge age-old traditions and religious beliefs.
What makes Fiddler such a beloved musical are its universal themes centering
on family and religious tolerance and oppression. In the cacophony of today’s Presidential election they
resonant even more loudly. While
the Jewishness of the material is obvious and pronounced it is dealt with in a
manner where all faiths, all audience members can relate to the subject matter. Look at the original production’s
accomplishments—it was the first Broadway musical to surpass 3,000 performances
and for most of the 1970’s it was the longest running Broadway show in history.
The heartbeat of the musical is the
score by the renowned Broadway team of Sheldon Harnick and Jerry Bock. It’s richness is truly one of the most
distinguished in all musical theater.
From the exuberant opening of “Tradition” to the joyous “If I Were a
Rich Man” and “To Life” to the touching “Do You Love Me” to the closing, somber
note of “Anatevka” there is not one song that isn’t a melodic, glorious
gem.
The cast is workman-like and
skilled, which is an attribute to the production. The character of Teyve, for example, is the central focus of
the musical, and should be an everyday type person as opposed to being
portrayed as the star. Danny
Burstein, as Teyve, displays this commonplace quality and hardiness of
soul. The audience can relate to
his trials and tribulations of being a parent in a new age. Jessica Hecht as his wife Golde, can be
somewhat dour, but her steadfastness and inner fortitude provide a more
grounded sensibility about the family’s struggles. The three eldest daughters—Tzeitel (Alexandra Silber), Hodel
(Melanie Moore), and Chava (Jenny Rose Barker)—are spirited, with one foot
firmly in the future, but one foot proudly in the past. Adam Kantor as Motel, the Tailor, is a
bit too jittery and apprehensive at first before growing more comfortable and
assured in his role. Ben Rappaport
as Perchik, the rebel student, is forceful with his convictions, but could be
more attentive and affectionate to his betrothed. Nick Rehberger as Fyedka, a Russian youth who is a non-Jew,
does a convincing job of walking the fine line between his world and that of
his future wife.
Director Bartlett Sher, who has
successfully helmed such large-scale Lincoln Center productions as South Pacific and the current revival of
The King and I, nimbly and
energetically guides the large cast of Fiddler
on the Roof. Whether in scenes
with a multitude of performers or those more intimate Sher shows his strength
and artistry. However, sometimes
his sensibilities run rampant, creating a more bloated feel that takes away
from the essence of a scene as in “The Dream” sequence. His decision to use a fiddler, roaming
the stage at integral moments, is unnecessary and distracting as is the opening
moments of the show with the actor Danny Burstein playing a modern day relative
looking forlornly at the remnants of his ancestor’s birthplace.
Choreographer Hofesh Shechter, a
newcomer to the Broadway stage and a dance director of Israeli background,
brings a unique dynamism and perspective to the production numbers. The vitality and ethnicly-tinged dances
honor and celebrate the tradition of original choreographer, Jerome Robbins. At the same time he stakes out his own
Fiddler
on the Roof, a triumphant and jubilant musical for audiences of all ages
and faiths.
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