“And because of our traditions, every one of us knows who he is:” Theater to Go’s “Fiddler on the Roof” Upholds a Theatrical Tradition at Kelsey Theatre

by Don Toal Jr.

Theatre is an art form steeped in traditions.  We have our superstitions, our beliefs in what brings us good luck and fortune…and what will definitely not.  We have our conventions, those storytelling techniques which are assumed as part of our craft.  (Ever wonder where the ‘fourth wall’ came from? Theatre raised it – and broke it – first.)  And we have certain works that are layered into the bedrock of our art form, that over decades have established the framework which newer works build off of.  

When Tevye, the family patriarch of “Fiddler on the Roof,” describes the origin of his village’s Jewish traditions to the audience (taking a healthy whack at that fourth wall right from the top), he muses: “You may ask, how did this tradition start? I'll tell you. I don't know. But it's a tradition.”  I’ll be blunt, for a time that was my opinion of “Fiddler.”  I knew it was a classic, but I couldn’t quite tell you why.  It certainly didn’t have enough magic or monsters or mystery to grab my attention as a younger student of theatre.  But its characters and themes are as important now as they were in its 1964 premiere, and as important as they were in the “Tevye the Dairyman” short stories that were their inspiration, first penned by Sholem Aleichem in 1894.  Good traditions have a way of sticking around – and if not persevering, then evolving – when we need them most.  And what “Fiddler” may lack in pizzazz, it makes up for with humor, heart, and humanity. 

All three of which are in ample supply for Theater to Go’s recent production of Tevye’s tale, which opened June 6 at the Kelsey Theatre. Director Ruth Markoe and Assistant Director/Choreographer Haley Schmalbach craft an interpretation of this classic musical that puts community, family, and resilience in the face of hardship in full focus, and explores those concepts authentically.  Their company of performers balances the humor present in everyday life with the struggle of adapting to the new and unfamiliar, and does so with sincerity and unflinching depth of emotion.  The effectiveness of this approach is bolstered not only by the acting choices of the cast, but their truly stellar vocal work as guided by Music Director Sue den Outer.  When the singers lift their voices as one the results are just stunning, with each number showcasing strong technique and clear artistic intent.  Whether it is the familial reverence of the “Sabbath Prayer,” with soft candlelight scattered through the darkened house, or the haunting grief and regret of “Anatevka,” the singers do not pull their punches.  And they work well in tandem with the small but lively pit orchestra, with den Outer on Keyboard and conducting, along with Barbara Klemp on accordion, Cameron Stahl on reeds, Mike Wolf on bass, Steven Ridge as fiddler, Samuel Ferrante on percussion, Martin Weisberg on trumpet, and Terry Chesnovitz on Trombone.  The combined instruments create a rustic soundscape that gives authenticity to the period while still providing a rock-solid canvas for the singers to work with.  Schmalbach’s choreography innately matches the right mood and tone for a moment, whether it be joyful (as when the men’s ensemble gleefully capers through “To Life”) or solemn (such as in the melancholic pantomime of “Chavaleh (Little Bird).”  At all possible times, the movement is informed by character, giving strong choices which fit the individual styles of the performers as well as the emotional current of the scene.  As a result, full company moments such as the stylized “The Dream” are bursting with personality, giving the cast ample room to play.

The technical elements all match consistently to the creative team’s vision.  M. Kitty Getlik’s lighting design is a particular standout here, with the color washes chosen (with complementary projected backdrops) establish crystal clear time and place as well as atmosphere.  Getlik uses color and coverage well to highlight Tevye’s internal monologues peppered throughout the show.  Eric Collins ensures sound design is balanced and clean from the first note to the last, and Stage Manager Christine Heffron (with assistance from backstage crew Dan Woods and Nicholas Walker, and Assistant Stage Manager Vicki Fiordelisi) keeps the show’s many moving parts flowing smoothly between scenes.  The humble Anatevkan buildings, designed and constructed by Ian Smith, with scenic painting by Lauren Fogarty, Stevie Skillman, and Haley Schmalbach, give a minimalist skyline brimming with natural textures and Hebrew script, a fitting playground for the cast to exist in.  The pieces chosen by Costume Designer Melissa Rittmann have a good sense of color to establish character, with uniform reds and browns for the Russians and a patchwork of patterns and fabrics for the homespun villagers.

“Fiddler on the Roof” is a musical that is as synonymous with its most famous performers (and their larger than life personalities) as it is with its story and themes.  Tevye is a leading role with big milkman’s boots to fill, and RJ Lewis is more than up to the challenge.  Lewis’ Tevye balances wit and cleverness with emotional weight and gravitas, effortlessly charming all with his asides and reactions.  The moments where his integrity as a father and a man of faith are put to the test are navigated with care and nuance, giving his character all the depth and complexity it needs to resonate with the audience.  Tevye’s dynamic with his wife Golde is a standout delight in this production, thanks in no small part to the firecracker energy Lauren Friedman brings to the role.  Her Golde matches Tevye wit for wit, with plenty of comic reactions and moments of heart of her own.  Their tentative duet “Do You Love Me?” is packed full of organic moments that highlight the history the couple shares and the challenges–and love–that has brought them to this present moment.

Love and challenges are the watchwords for the romantic arcs of Tevye’s three eldest daughters as they learn more about the world around them and themselves.  Jenni Profera’s Tzeitel is sweet and sincere, with an expressive classical sound and an even more expressive sense of play, as she has great fun with the lighter moments of “Matchmaker.”  Her connection to the nervous young tailor Motel, played by Jaylen Stanley, is genuine and charming.  Motel’s anxious energy is anchored and guided by Stanley’s crisp diction and active listening choices, making for some fun comic moments.  Lucinda Fisher’s Hodel works well vocally with her sisters as a trio, but her solo “Far From the Home I Love” is where she packs in the most amount of subtext and conviction, as she sings about her regrets but also her devotion to her new love Perchik.  Perchik is given a slight (but smug) air of intellectual superiority by Alex Ridder, paired with a strong sense of justice and a fiery streak of rebellion.  His defiant moment where he and Hodel ask for Tevye’s blessing, not his permission, drew some noticeably surprised murmurs from the audience in attendance.  Ridder’s vocal work is clear and strong, with the passion that drives the character adding extra punch.   Trinity Austin as the middle daughter Chava has a smoky mezzo voice that blends well with her sisters, and her ballet sequence as Tevye recalls her childhood is executed with superb grace and skill. And Shawn Simmons’ Fyedka gives some well-rounded humanity to contrast his brutish Russian allies, quickly establishing compassion and decency with great economy of scene work. 

Rounding out Tevye’s family, Melody Weiner as Schprintze and Rafaella Mousa as Bielke add giddy, unbridled joy to the household.  Jenny Weiner steals the show on several occasions as the gossipy matchmaker Yente, keeping her scenes’ momentum steadily moving forward with persistence and comic cheek.  The gag where she and Golde steal potatoes out (and back in, and then out again) of the stewpot is this reviewer’s personal favorite bit.  Lex Friedman is at once prideful and likable as the wealthy Lazar Wolf, and the scene where he and Tevye discuss Wolf’s engagement to Tzeitel is wonderfully paced.  As the Rabbi of the village, Tom Bessellieu makes the most of each word of wisdom, be it for comedy or emotional impact.  Haley Schmalbach’s turn as the titular Fiddler is steeped in precision movement and playfulness.  While the Fiddler is a scripted character for a few key moments throughout the show, Markoe expands on this by making the Fiddler the focus of many of Tevye’s inner monologues. This is an excellent interpretation that puts a human face to the milkman’s precarious balance between upholding his traditions and adapting to an ever-changing world.

Each and every member of this cast takes the opportunity to make their mark on the village of Anatevka.  Reba Holley has a ball as Grandma Tzeitel (also doubling as Shaindel), animating her with manic wind-up-toy energy.  Equally unhinged is Jessica Braynor as the fearsome Fruma Sarah, gliding around stage at high speed in a cobweb-laden skirt and not missing a moment to leave teeth marks in the scenery.  Supporting villagers Richard Kirschner as gregarious barkeep Mordcha, Steve Wolfe as Avram, Sean Gavin as the Rabbi’s son Mendel, and Chris Boerner as Nachum and Yussel all add moments of levity, broadening the horizons of this little community with each new interaction.  It was pure joy to see these gentlemen celebrate with Tevye during “To Life.”  Chris Schmalbach gives the Russian Constable a fair bit of humanity, but does not shy away from the rough edges that define the character’s prejudice and duty to the tsar.  And Pat Rounds as Sasha gives a full-throated (literally) vocal performance that is a powerhouse moment in and of itself.

The rest of the Russian ensemble–Rayna Lewis, Jim Morris, KC Cavalieri, and Brian Wurtz, add a suitable bit of menace to their scenes, firmly establishing the threat that exists in uneasy peace with the Jewish residents of Anatevka.  They have some fun moments of lightheartedness as well, but do not pull focus from their main purpose in the narrative.  The large ensemble of villagers, including Leanna Collins, Deni Sobotka, Evelyn Braynor, Lucy Speigel, KC Cavalieri, Alex Search, Clayton Boerner, Brian Wurtz, and Ethan Shaev, all do a lovely job of fleshing out the world of the show and making it seem vibrant and lived in.  This is most evident at the wedding, when the Bottle Dancers (Gavin, Cavalieri, Wurtz, Shaev, and at least one other uncredited dancer) take the stage for that famous sequence–done without any adhesives or clever tricks to nail them down.  All parties involved–spectators and dancers alike–are fully invested and focused on the dance, and the audience follows their focus without a second thought.  When the dancers finish their routine, it is like a ripcord is pulled–or a champagne bottle is uncorked–releasing a tidal wave of joy and energy that carries the scene into high gear, that you can’t help but smile at. 

And that energy is only possible when you have a crucial element: community.  While to many outside the field of theatre (and a fair few inside it) the “community” in “community theatre” is often a dirty word, it misses the point that when people–of all views, creeds, and faiths–come together, magic is possible.  The team of Theatre to Go understands that magic implicitly, and bakes it into every corner of this production. “Fiddler on the Roof” runs at the Kelsey Theatre at Mercer through June 15.  You owe it to yourself to see it.  After all: it’s tradition. Purchase tickets here: http://purplepass.com/organizer/66720