"Fiddler on the Roof"

Theatre review
"Fiddler on the Roof" for Cortland Repertory Theatre
The Ithaca Journal
July 27, 2007
703 words

"Cortland Rep offers intimate version of 'Fiddler on the Roof'"

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Cortland Rep offers intimate version of ‘Fiddler on the Roof'
By Mark Tedeschi
Special to Cortland Ticket







In 1894, Jewish author Sholom Aleichem wrote a series of stories about a Russian milkman named Tevye. Aleichem's most famous story, “Tevye and his Daughters,” inspired an adaptation called “Fiddler on the Roof” by the team of Joseph Stein (playwright), Sheldon Harnick (lyricist) and Jerry Bock (composer).

It played on Broadway for more than 3,000 performances (the first musical to do so), generated a well-known film version in 1971 and has since enjoyed countless revival shows all over the world.

This summer the show finds a home in Central New York, and from now through Aug. 4, Cortland Repertory Theater will be tricking its audience — “Fiddler on the Roof” seems too grandiose for the modestly sized Edward Jones Playhouse, but the touching story is microcosmic enough that you might even think it's played better in a smaller venue.

Tevye, performed with gusto by Claus Evans, is the narrator, lead character, breadwinner of his family and father to five daughters (guess which of those is the hardest feat). He explains at the beginning what life is like for the inhabitants of a 1905 Russian shtetl; plainly and proudly, he says, “We stay because Anatevka is our home.”

The rest of the cast files in for the opening number, “Tradition,” where we learn the specific roles of Papas, Mamas, Sons, and Daughters as per Jewish custom. We also immediately see how attentively director/choreographer Jim Bumgardner uses set designer Carl Tallent's visually snug (and richly brown) space.

Tevye's jokester demeanor and neighborly familiarity lightens what must have been quite testing hardships for Jewish families under Tsarist regime. But he's a genial man and a caring father; the plot focuses on his three eldest daughters and the men they love — men that put Tevye's sense of tradition in check.

Tzeitel (Lindsay Zaroogian), the oldest, falls for a cartoonish young tailor named Motel (Gregory Trimmer), against the counsel of the nosy, kibitzing matchmaker, Yente (Suzan Perry). Meanwhile, Lazar Wolf the butcher (a wonderful moniker, isn't it?), played by Ted Nappi, asks Tevye for Tzeitel's hand in marriage; Tevye pontificates, decides that security supersedes age disparity, and accepts. The nearby bar patrons offer a toast in the form of “To Life,” a song featuring a catchy chorus and some notable Barynya footwork.

Tevye relents to Tzeitel's plea not to force her to marry Lazar, and he accepts her betrothal to Motel. The haunting but beautiful classic “Sunrise, Sunset” precedes their wedding reception, where everyone is in high spirits — even Lazar. Some authentic bottle dancing wows the crowd — then, perhaps too quickly, Lazar has a change of heart and snaps at Tevye.

A traveled young radical (Perchik, played by Nicholas Palazzo) attempts to alleviate the tension by grabbing his secret love and Tevye's second oldest daughter, Hodel (Catherine Lena Stephani, consistently boasting a powerful singing voice), for a dance. Everyone balks at the broken taboo until they cave and join in. Soon, Russian occupants, led by the Constable (Mark Bader), Fyedka (Liam Cronin), and Sasha (Jefferson McDonald, also dance captain) step in and crash the wedding.

In the second act, Tevye gives his blessing to Hodel to seek out Perchik, who's been arrested in Siberia. However, Tevye's tsuris puts him at the end of his rope when the middle daughter, Chava (Ephie Aardema), elopes with Fyedka, a gentile. He laments via a heartbreaking song, “Chavelah,” and later treads on a thematic line between blind faith and contentment.

Although poignant, CRT's production isn't perfect; some beards look too fake, “Miracle of Miracles” is a bit schmaltzy and on opening night there were a few trips over the wordier portions of dialogue. Also, some actors might have practiced their Yiddish pronunciation more, as it often suggests on-the-spot gibberish.

Despite the script's initially flat exposition (“Tzeitel, you're the oldest.”), its witticisms (“May the authorities itch in places they can't reach!”) and subtleties (Lazar would be much easier to disregard if he weren't such a nice guy) qualify it as first-rate. All the elements — counting Patrick Young's music direction, John Horan's lighting design (watch for the slow change during “Sabbath Prayer”), Jimmy Johansmeyer's costumes, and Michael J. Speach, Jr.'s sound design — pay captivating respect to this timeless tale.