COSTA MESA, CA -- When a property as old and as sacred as FIDDLER ON THE ROOF is revived for new audiences, one would expect either a fresh, new take on a familiar show, or a disastrous series of experiments that disparages its source material. Neither is the case in the current touring production of the classic stage musical, which in its original 1964 incarnation won nine Tony® Awards, including Best Musical. Performances at The Orange County Performing Arts Center continue through August 23.
Here, director Sammy Dallas Bayes painstakingly recreates the production (save for some new technological advances) and choreography that made his mentor Jerome Robbins a Broadway legend. The homage to Robbins' original vision is palpable, genuine and even nostalgically reverent. For those seeking a safe, well-executed return to a good, old-fashioned book musical, FIDDLER ON THE ROOF fits the (play)bill nicely.
Besides the familiar score by composer Jerry Bock and lyricist Sheldon Harnick, the real star of the production is, of course, Israeli actor Chaim Topol, who earned an Oscar® nomination for playing Tevye the milkman in the 1971 feature film version directed by Norman Jewison. Too many may not realize that he was only 36 years old when he starred in the film (a somewhat controversial bit of casting since Zero Mostel, the original Tevye on Broadway, was the expected headliner for the film). Now at 73, Topol—who has played this role in various productions all over the world for decades—lives and breathes Tevye, as if he was the only actor to ever embody the role. Starting with the 1967 London production, he continued to play Tevye in the late 1980's national tour (when the actor finally caught up to his character's approximate age), and was later nominated for a Lead Actor Tony® Award for the 1990 Broadway revival.
There is a heartwarming feeling of reminiscence that takes over the theater as soon as Topol appears, wearing that recognizable Russian garb and prayer shawl, and pulling that milk cart. The actor retains much of that loveable, cuddly "grandpa" persona he so skillfully overplays in the movie. As soon as he starts his signature hands-in-the-air dance to "If I Were A Rich Man," one can't help but smile and remember why the character of Tevye is such an endearing, timeless staple of American Musical Theater. Topol is still surprisingly spry in most of his dance numbers and (for the most part) sings his songs with gusto and life. He does, however, add a sing-songy, high-pitched sound effect of befuddlement that is obviously meant to play for easy (if awkward) laughs in various parts of the show. The wordless mumble is cute at first, but overstays its welcome by the time the second act comes around—a certainly old-school comedy acting choice.
The remainder of the cast, though understandably overshadowed by the star power of Topol, is comprised of a talented, enthusiastic company. In particular, Tevye's three daughters (played by
Rena Strober, Jaime Davis, and
Deborah Grausman) exude such beautiful, charming voices, both as an ensemble and in individual solos. Once Davis hits the climax of "Far From The Home I Love" you would be hard-pressed to try to resist shedding a tear or two.
Susan Cella's portrayal of Tevya's wife Golde is a fine compliment to Topol's showier role. Their duet on "Do You Love Me" is a sweet, adorable contrast to the darker tones of the second act.
Mary Stout is a scene-stealer as Yente the matchmaker (famously played by
Bea Arthur in the original Broadway production). The entire cast is superb in the opening classic "Tradition" and the wedding sequences that end the first act. And in an unexpectedly, unconventional casting choice (in a show all about retaining traditions both in the story and this show's staging), the ghost of Fruma-Sarah in the Dream sequence is played for laughs by Sean Patrick Doyle.
The story itself, based on the Tevye stories of
Sholom Aleichem, still resonates today, perhaps for decidedly different reasons from when the show was produced over four decades ago. The idea of upholding traditions in order to keep life stable and copasetic is certainly what the citizens of Anatevka strive for everyday. But slowly, as the world changes around them, keeping to traditions gets more difficult, especially with matters of love and traditional political thinking. Tevye's children show that one can't help with whom they fall in love with, despite whether or not it complies with social or religious doctrine. Though the time and setting may be different, the debate for such progressive ideas still exist today.
Overall, FIDDLER ON THE ROOF remains a charming, endearing classic with memorable music and an enjoyable, relatable story. Undeniably, the real draw is seeing Topol, billed here as his "farewell tour" (which seems a bit ominous and foreboding), in the role he made famous both on stage and in the cinematic Oscar® winner. What he lacks in amazing vocal prowess, he more than makes up for by sheer stage presence and his game willingness to be the physical and spiritual embodiment of the role. While this particular production is missing the tricks of contemporary musical theater (falling chandeliers, flying witches, over-the-top belting divas), the timelessness of
Jerome Robbins' original groundbreaking "tradition" most certainly lives on.
Photo: Topol as Tevye in Fiddler on the Roof.
Photo credit: Joan Marcus.
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Tickets to FIDDLER ON THE ROOF performances (August 11 - 23, 2009) at
The Orange County Performing Arts Center are $20 – $75 and are available online, in-person at the Center’s Box Office at 600 Town Center Drive in Costa Mesa, or by calling (714) 556-2787.
Visit
www.ocpac.org for more information. For more information on the national tour, visit
www.fiddlerontour.com
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