Review: Broken Traditions in FIDDLER ON THE ROOF at Casa Manana

The timeless musical FIDDLER ON THE ROOF has moved audiences to "happiness and tears" for more than five decades in theatres all over the world. The current production at Casa Mañana seemed to arouse those same emotions in theatregoers on opening weekend, even if this particular production isn't up to Casa's typical standards.

If you've somehow missed FIDDLER ON THE ROOF on either stage or film, the show takes place in Imperial Russia around 1905. Told from the perspective of dairyman Tevye, a husband to Golde and father to five daughters, the show focuses on his faithful efforts to obey traditional Jewish cultures. When his own daughters stray from these deep-rooted traditions, Tevye is challenged to keep his faith and family intact.

This FIDDLER cast is jam-packed with excellent singers, whose voices soar on all of Jerry Bock and Sheldon Harnick's finest tunes, including "Tradition," "Matchmaker, Matchmaker," "Sunrise, Sunset," and "Anatevka." Yet somehow, despite cutting two full ensemble scenes and one song ("The Rumor"), the show still clocks in at over 2.5 hours, occasionally seeming to drag its heels, especially while watching the "fiddler", who ironically (and quite obviously) doesn't play a single note. I attribute much of this to Casa Mañana's impressively short two-week rehearsal period, where music, choreography, costumes, lighting, scenery and staging are all fighting to be scheduled. It's a "miracle of miracles" that this show (like many of the theatre's massive productions) runs as seamlessly as it does.

Another problem I found in Casa's well-sung production was a lack of attention given to details of Jewish traditions. For example, while many religions do bow their head in prayer, the Jews singing "Sabbath Prayer" would not. Nor would an obedient Jewish mother ever blow out Shabbat candles - even for the button of the song (although I understand the technical fire concern here). Also, while I appreciate the inclusion of the Mezuzah (scroll) inside Tevye's house, shouldn't this be placed on the opposite side, where the family would regularly enter the room? I'll admit that I'm not actually Jewish, but I spent many unforgettable nights with a cast full of wonderful Jews who lovingly corrected any (and every) error I made while directing a production of the show in Arizona last year. Although the audience didn't necessarily realize the mistakes, it is the smallest details that can make the biggest difference.

For me, the standouts in the show weren't necessarily those with the most stage time, which isn't to imply that Casa Mañana's mighty cast isn't each deserving of praise. In fact, two fine actors borrowed from Lyric Theatre's 2008 FIDDLER production, Dennis Wees (as the golden-voiced Fyedka) and Mary McElree (who offers an impressively rich performance as Chava, having formerly played Hodel) managed to shine in their supporting roles. Not only did the pair find the strongest on-stage chemistry, but each flourished on their own as well. In her featured role as Fruma Sarah, Laura Wetsel also commands the stage with an unforgettable (and vocally impressive) act. Noah Putternam's depiction of the nervous tailor Motel provides frequent charm and comedic relief to the dramatic action onstage. Lastly, in one scene that is consistently an audience favorite, credit is owed to Clinton Greenspan, Preston Isham, Michael Scott McNay and Ryan Page, the four bottle dancers who held the audience in the palms of their hands during their nail-biting balancing act.

Despite its flaws, Casa Mañana's FIDDLER ON THE ROOF certainly wowed the crowd on opening weekend, with almost every patron on their feet at curtain call. Filled with Broadway talent as well as some of DFW's stars-in-the-making, the production runs only thorough Sunday, October 4th. Tickets are available at www.Casamanana.org.

Photos by Samuel Rushen.

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