BWW Reviews: FIDDLER ON THE ROOF Celebrates the Tradition of an Unlikely Broadway Classic

Andrew Llloyd Webber, Stephen Swartz, and everyone at Disney Theatrical, I hope you're taking notes. A musical doesn't need falling chandeliers, flying green girls, a budget larger than the GDP of most nations, or even show-stopping numbers to be successful. All a show really needs to resonate with an audience is a strong story and interesting characters. Those two elements are precisely why Fiddler on the Roof has enchanted audiences for 50 years and counting, and The Playhouse's current production of it is a wonderful example of how moving this simple musical can be.

The classic musical-which features music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein-follows the life of a Jewish dairy farmer named Tevye. Tevye wishes to preserve the traditions and culture of his community, a wish that proves difficult considering how his headstrong daughters all wish to break tradition by marrying the men they love. Increasing friction between his community and the Russian government also creates problems for Tevye.

Fiddler on the Roof is considered one of the greatest achievements of director/choreographer Jerome Robbins' illustrious career, and it's not surprising that The Playhouse's creative team opts to recreate Robbins' work. While I'd typically criticize a director and choreographer for recreating the work of another rather than take an original approach to the material, Robbins' work is so tightly bound to the show, the story, and the characters, it's almost impossible not to replicate his direction and choreography. The choice to replicate his work is a wise move for director Lee Cusenbary and choreographer Carla Sankey. Regarding Cusenbary, I must point out that recreating another director's work really means replicating their blocking and staging, and that's only half of a director's job. There's more to Fiddler than blocking and staging. There's emotion, and the emotional resonance and clear, fully developed relationships that Cusenbary gets from his cast is his work alone, not Robbins'.

Cusenbary's production also features an impressive creative team. The costumes, designed by Rose Kennedy and Laura Briseno, evoke the idea of a Russian village steeped in tradition. The culture comes alive through their designs, though there is one puzzling costume in the bunch. Just minutes into the show, Tevye informs us that all men in the village wear a prayer shawl at all times. However, his fiddling friend doesn't wear one. Isn't the fiddler Jewish as well?

The set is worth discussing as well. Designers Steve and Sam Gilliam have provided the production with easily the most elaborate set seen on The Playhouse stage in years. That's really not surprising considering the two gentlemen designed the set for the touring production. It really is spectacular, though perhaps a bit over-complicated. Some of the scene changes take quite a bit of time, and I'd argue that the village of Anatevka isn't about a handful of two-dimensional trees.

Of course, I'm being nit-picky. There's so much to love about this production, especially regarding the cast. Caroline Kittrell brings a sweetness to Tzeitel, Tevye's eldest daughter, a trait she shares with her husband Model, played by Trevor Chauvin. Kaitlin Muse plays the second eldest, Hodel, with a quick wit and occasional stoicism, traits that match well with Hodel's suitor, Perchik, played with unflinching pluck and audacity by Robby Vance. Kaitlyn Dutton plays the middle daughter, Chava as naïve and innocent, which is appropriate through most of the show, though she barely misses finding the resonance of the life-altering decisions her character makes in the final act.

As Tevye's wife, Golde, Rebecca Trinidad (whose name you see in virtually every show program in San Antonio) is just as good as ever. There's a level of professionalism that Trinidad always brings to her work, and she's constantly able to create nuanced characters, and Golde's no exception. Trinidad is the rare breed of actress that can land a joke one moment, appear vulnerable in the next, and show heart-wrenching sorrow moments later.

But like any production of Fiddler, the overall success of the production relies on the actor playing Tevye. The show is, after all, a star vehicle. If Fiddler is a star vehicle, then David Nanny-Isban is a star. I've not seen a better acted Tevye before. Over the course of the near three hour show, Tevye experiences a wide range of emotions, and Nanny-Isban hits all of them and makes them all ring true. Like Trinidad, he's able to land his jokes with ease as well, and I think it's more than fair to say that he sings the role better than the original Tevye, Zero Mostel. There may be many reasons to see this production, but even if there weren't, Nanny-Isban would be reason enough.

FIDDLER ON THE ROOF plays The Playhouse (800 W. Ashby Place, San Antonio 78212) now thru Monday, December 22nd. Performances are December 18th, 19th, 20th, and 22nd at 8pm and December 21st at 3pm. Tickets are $12 - $30. For tickets and information, visit www.theplayhousesa.org

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