Review: FIDDLER ON THE ROOF at New Rep: In the Heights

Fiddler on the Roof

Based on Sholem Aleichem Stories by Special Permission of Arnold Perl; Book by Joseph Stein, Music by Jerry Bock, Lyrics by Sheldon Harnick; Produced on the New York Stage by Harold Prince; Original New York Stage Production Directed and Choreographed by Jerome Robbins; Directed by Austin Pendleton, Music Direction by F. Wade Russo, Choreographed by Kelli Edwards; Scenic Designer, Stephen Dobay; Costume Designer, Kathleen Doyle; Lighting Designer, Keith Parham; Stage Manager, Anna Burnham; Assistant Stage Manager, Becca Freifeld

CAST (in alphabetical order): Adam Lokken Barrameda, Victoria Britt, Amelia Broome, Seamus Doyle, Gabriela Ettinger, Dashiell Evett, Leo Galletto, Abby Goldfarb, Gabriel Graetz, Ricardo Holguin, Jeremiah Kissel, Bo Krucik, Ryan Mardesich, Sarah Oakes Muirhead, Robert Orzalli, Dan Prior, Eli Raskin, Jared Reinfelt, Benjamin Salus, Bobbie Steinbach, Alyssa Rae Surette, Patrick Varner, Dylan C. Wack, Jocelin Weiss, Carly Williams, Samuel L. Warton, David Wohl

Performances extended through January 1 at New Repertory Theatre, Arsenal Center for the Arts, 321 Arsenal Street, Watertown, MA; Box Office 617-923-8487 or www.newrep.org

Fiddler on the Roof at New Repertory Theatre in Watertown is not just a revival; it has the hallmarks of a revival meeting, if that concept can be broadened to apply to Jews and progressives of all faiths. Without being preachy or didactic, it inspires the audience with its themes of tradition, community, and family, underlining the strength and security inherent in adhering to these values. The story is set in 1905 Czarist Russia and the musical premiered on Broadway in 1964, but Fiddler is anything but outdated. Our country and the world at large are riding a pendulum that is swinging disturbingly right of center and hateful tropes that previously receded have emerged from The Shadows and are once again in favor in some circles. This quietly powerful and stellar production directed by Austin Pendleton is a shofar call to stir the hearts and minds of all who would recall the Holocaust motto, "Never again."

Tony-nominee and Drama Desk Award-winner Pendleton, who originated the role of Motel the Tailor in his Broadway debut, puts his own stamp on this Fiddler with a 27-member cast featuring some of the finest Boston-area actors. Front and center is Elliot Norton and IRNE Award-winner Jeremiah Kissel in the pivotal role of Tevye, with Amelia Broome (excellent) as his wife Golde, and Bobbie Steinbach (born to play the part) as Yente, the matchmaker. Collaborating with Music Director F. Wade Russo and Choreographer Kelli Edwards, Pendleton gives prominence to the heart and humor of Joseph Stein's book, based on Sholem Aleichem's stories, yet does not gloss over the darkness and evil bubbling under the surface, ominously waiting to erupt. Sheldon Harnick's lyrics enrich the narrative, while Jerry Bock's brilliant score blends the sounds of joy and sorrow with its use of trills, evocative minor tones, and simple harmonies, all movingly voiced by New Rep's accomplished chorus.

Many of the musical numbers are well-known, but not well-worn as the ensemble sings them with enthusiasm and dances with precision and zest. "Tradition" portrays the dignity and pride in their role of each sector of the community (the papa, the mama, the son, the daughter, etc.), in contrast to the raucous, free-wheeling display in the celebratory "To Life." The solemnity of "Sabbath Prayer" is enhanced by the staging, as a series of families step in to take their place at the table and perform the candle-lighting ritual. The prototypical wedding song "Sunrise, Sunset" is strikingly poignant, with the parents looking back while their children embark on a future together in a rapidly changing world.

The tug of war between tradition and change propels the story as Tevye, a milkman and father of five daughters, struggles to maintain his grip on the old ways. His three eldest daughters challenge the way things have always been by choosing to marry for love, rather than allowing their parents and the matchmaker to arrange marriages for them. As difficult as it is for Tevye to adapt and accept this rebellion within the family, the external political forces are an even greater threat to his way of life and, perhaps, to life itself. The looming presence of the Constable (Eli Raskin) and Russian soldiers in their little town foreshadows the cruelty that the Czar will rain down upon the Jews, exerting the harshest test on the religious and cultural traditions of the community.

As Tevye says, "Without our traditions, our lives would be as shaky as - as a fiddler on the roof!" To remind us of this, the director chooses to have the character of the Fiddler (Dashiel Evett) be a silent observer and companion throughout most of the show. Occasionally, he runs the bow across his instrument or joins in the ensemble dances, but it is a distraction in intimate scenes where he appears like a stalker who won't go away. In the face of the upheavals, daily life still goes on in Anatevka, with its denizens holding fast to their traditions. The men work hard to provide for their families, and the women maintain the home, passing on to their sons and daughters the lessons that apply to their gender. That, too, is in the throes of change and each character goes through their own process as they seek steady ground.

Daughter number one is Tzeitel (Abby Goldfarb), a smart and attractive young woman who knows her own heart, and knows that it belongs to her childhood friend Motel (Patrick Varner). Theirs is a dream pairing, convincing us that they have been in love and promised to each other for almost as long as they've known each other. Pendleton has no doubt given Varner guidance on playing the tailor, but he distinguishes himself as his own man and allows Motel to blossom right in front of our eyes. Goldfarb also relates naturally with her stage sisters, Sarah Oakes Muirhead (Hodel) and Victoria Britt (Chava). All three have beautiful voices and their harmony and chemistry in "Matchmaker, Matchmaker" is matchless. Each of the women captures the personality traits of their respective daughters - Hodel's strength of character and Chava's love of literature and learning - and show the heartbreak they feel when leaving their home and family.

There are strong performances across the board from Ryan Mardesich as Perchik, the student and rebel who expands Hodel's world; David Wohl as Lazar Wolf, the butcher who seeks to marry Tzeitel, only to be spurned; Gabriel Graetz as Mordcha, the genial innkeeper; Dan Prior as Fyedka, a gentile soldier with a literary bent who steals Chava's heart; Alyssa Rae Surrette as Fruma-Sarah, Wolf's late wife who creates havoc in Tevye's dream. A quartet of young men - Adam Lokken Barrameda, Leo Galletto, Ricardo Holguin, and Benjamin Salus - amaze the audience with their steadiness and artistry in the bottle dance at the wedding of Tzeitel and Motel. Robert Orzalli looks the part as Anatevka's Rabbi.

Kissel is immense in a very demanding role. His Tevye shows a wide range of emotions and traits, leaving no doubt that he is a flawed human doing his best. Tevye has faith in God, but it is not blind. Among Kissel's fine moments are his conversations with God when Tevye questions why something is or is not happening. He struggles to maintain the appearance of being in charge at home, but beneath the surface he understands that Golde is more than an equal partner, and we can see that his daughters are his heart. Every time that Tevye must make a decision and debates with himself ("on the other hand..."), Kissel's face expresses the thoughts going through his mind. He uses his physicality and gestures to convey Tevye's burdens, joys, exasperation, fear, anger, disappointment, and sorrow. Without saying a word, he could make his feelings clear, but his proclamation to the Constable after having been ordered to vacate his home is all the evidence we need that Kissel's Tevye is a mensch.

Fiddler on the Roof is a story for the ages that resonates because of its very basic themes. People are always going to be oppressed and fighting for their rights and their lives while trying to remain true to their beliefs. Change can be good, but it can also be disruptive or terrifying. The importance of holding fast to traditions, community, and family cannot be understated when facing these challenges. Pendleton and company drive home this message in a beautiful and profound way, encapsulating everything in the sorrowful, yet hopeful final song, "Anatevka." The eviction evokes a numb, hollow feeling, but this production is moving on so many levels that the imperative to survive and carry on rules the day, one day at a time.

Photo credit: Andrew Brilliant/Brilliant Pictures (The Cast of Fiddler on the Roof)

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