Review: FIDDLER ON THE ROOF at Rochester Opera House

One of the most timeless and well-loved musicals is “Fiddler on the Roof,” the story of Tevye the dairyman, in czarist Russia at the turn of the 20th century reminding us of the enduring power of family, faith, and resilience in the face of change.

For those not familiar with the story portrayed by iconic Broadway star, Zero Mostel on stage or Topol in the film version, the story follows Tevye (Scott H. Severance), a Jewish man living in Anatevka with his wife, Golde (Jenry Towle), and their five daughters.

The musical explores Tevye's attempts to maintain his family's traditions in a rapidly changing world. As his daughters reach an age to be wed, Tevye grapples with the changing social order, where arranged marriages are giving way to love matches. No longer are the youth looking for the services of Yente (Kerry Schneider), the matchmaker who makes a business of pairing couples together.

Tevye’s eldest daughter, Tzeitel (Molly Scott), refuses the arranged marriage to the wealthy butcher, Lazar Wolf (Michale Towle), as tradition dictates, casting Tevye into turmoil. He eventually relents, allowing Tzeitel to marry Motel (Ben Hanley), the Tailor, the man she loves.

The arrival of outsiders, like Perchik (Brandon Foley), a revolutionary student from Kiev, further disrupts the established order, challenging Tevye's deeply held beliefs. Tevye is waylaid when daughter, Hodel (Lindsey Brunelle), chooses to marry the student and join him at a work camp in Siberia.

The final straw to the new establishment is when his youngest daughter, Chava (Eloise Ellis) choses to marry a Russian soldier, Fyedka (Will McPherson). The thought of this arrangement is too much for Tevye to accept choosing to banish his daughter from the family.

The background to these marriages is the rising winds of change resulting in a political decree forcing the Jews to leave Anatevka, shattering their peaceful existence. Tevye and his family are forced to pack up their belongings and embark on an uncertain journey to a new life.

The story is hauntingly real considering current political rifts between Russia and the Ukraine. Oppression and religious persecution are still very much alive.

Severance is the core of this production, bar none. He has portrayed the dairyman in eight previous productions, and it shows. His Tevye has a genuine human quality with a touch of whimsy and humor. His rendition of iconic songs like "If I Were a Rich Man" and "Tradition" resonates with warm sincerity.

As Tevye's wife, Golde, Towle is perfectly matched. She’s mindful of her traditional place in the family but driven by a strong independent streak. The spouses bickering and banter feel authentic, showcasing a long-lasting marriage built on love and respect. Their number, “Do You Love Me?” is among the most charming in the show.

The love pairings are truly well cast. Scott and Hanley are wonderfully innocent and wide eyed in their naturally found love. Hanley shines in “Miracle of Miracles” and you just feel the connection between the two actors. A wonderful choice was to include Hanely in the vigorous dance numbers at the couple’s wedding including the iconic bottle dance perfectly balancing liquor bottles on their heads while performing Russian inspired dance steps. Hanely holds a bachelor’s degree in dance, and it is a brilliant move to put aside casting conventions to defer to using skills where they shine best.

Not to be outdone is daughter Hodel’s relationship with Perchik. Brunelle’s vocals soar in the reflective, “Far from the Home I Love,” while Foley brings a folksy contemporary sound to his number, “Now I Have Everything.”

And in the final pairing, Ellis and McPherson bring a tender love story to a relationship that breaks the bounds of tradition.

There’s talent in many other characters. Schneider’s ever meddling Jewish mother is played with wonderful nuance. Towle’s Lazar Wolf comes alive in a rollicking dance number, “To Life,” one of the many pieces charted by choreographer, Jo Meallo.

Chris Bradley is a perfectly doltish Rabbi. Kevin Mahaney is menacingly appropriate as the Constable, though appearing more  German Nazi than Russian soldier.

As director, music director, set, costume and prop designer, Patrick Dorow, has some hits and misses.

The set has an array of household chests of drawers and hutches from all time periods engulfing the set on many levels. While I see what he tried to accomplish with the visual, it didn’t portray the Russian village feel that I expect for this show.

Costume choices were a bit odd as well mixing in period appropriate costumes with a few modern suits and footwear. In contrast, the winter garb toward the end of the show was spot on.

While the dream sequence was performed well by Grandma Tzeitel (Ciara Neidlinger) and Fruma-Sarah (Ashley Tsimtsos), I wanted a bit more staging that could produce exaggerated and nightmarish characters. On the other hand, the bed for Tevye and Golde in the scene was perfect in design and execution.

Dorow shines in directorial nuance. Adding the two younger daughters (Avery Fecteau and Violet Nelson) to the “Matchmaker” number makes perfect sense and is a welcomed divergence. The stage packed to the gills for the “Tradition” number gives a grand start to the production with a cast of forty or so singing their hearts out.

The departure scene at the end of the show was masterful while featuring the entire cast exiting the village and occasionally leaving some possessions lined up on the front of the stage.

And the curtain call was emotionally moving as the entire cast appeared on stage at once with a group bow led by Tevye with a handheld over his heart and a sweeping gesture from everyone for the bow. Very simple, well done and heartwarming.  

The Rochester Opera House keeps its tradition of exceptional productions with this wonderfully entertaining performance of “Fiddler on the Roof.” It is not to be missed.

Please know that the running time for the show including the intermission is a bit under three hours. That’s quite a length of time for younger audience members.

Photos: Studio Two Seven Nine

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