NEW “FIDDLER” IS A WINNER
By JASMINA WELLINGHOFF, Editor –
It’s always somewhat risky to revive beloved old musicals, but the revival of “Fiddler on the Roof” which is currently playing at the Majestic Theater, is a winner on all fronts. The show is a touring production of the 2015 Broadway version directed by Bartlett Sher, clearly a smart, astute re-imaginer who has managed to enhance both the emotional and theatrical impact of the familiar tale without making dramatic changes.
The touring production benefits greatly from the presence of Israeli actor Yehezkel Lazarov in the pivotal role of the poor milkman Tevye, who, with his wife Golde (Maite Uzal), has five daughters, three of whom are of marriageable age. The family is part of an established Jewish community in the village of Anatevka in Russia, where life is governed by well-established traditions. In fact, the show opens with “Tradition,” a big ensemble number that defines the villagers’ ideals. And a major tradition requires that parents and matchmakers are in charge of finding suitable husband for young women.
But the winds of historical change are reaching even little Anatevka. One by one, the three older daughters challenge tradition, each in her own way by choosing love matches instead of accepting traditional arrangements. The eldest Tzeitel (Mel Weyn) refuses to marry the rich and much older town butcher because she loves the young and poor tailor Motel (Jessie Weil); the middle daughter Hodel (Ruthy Froch) falls in love with an equally poor revolutionary-minded student named Perchik (Ryne Nardecchia), and the youngest falls for the handsome Russian Christian, Fyedka (Joshua Logan Alexander).
As their father Tevye, Lazarov is endearing and entertaining- in addition to being a terrific singer – as he confronts each unexpected situation. Somehow, his chats with God and his personal ponderings of the pros and cons of each challenge seem more amusing and sincere than what I remember from previous productions. Along the way, he delivers winning songs like the famous “If I Were A Rich Man” and the moving “Chavalet.”
Uzal also rises to the occasion as the no-nonsense, hard-working counterpart to Tevye throughout most of the play until the two show their softer sides in the touching song, “Do You Love Me,” a question Tevye poses to his surprised wife after hearing all that love talk from his daughters. Again, humor and pathos are effectively combined, as they are throughout the show.
As always, the music and dancing are a big part of “Fiddler’s” appeal but the powerful new choreography by Israeli-British choreographer Hofesh Schechter, brings a new energy to a number of scenes with a buoyant mixture of folksy and modern dance moves. (This reviewer wanted the dancing to go on much longer.)
Though the singing is not uniformly stellar, all the scenes are so skillfully crafted and beautifully acted that the familiar show seems to have been “reissued” in high definition.
But there’s one scene from the older versions that I missed. As state authorities decide to force the Jews out of their villages, the final moments of packing and farewells are heart-wrenching as expected. Then, as Tevye and what’s left of his family prepare to leave for the U.S., the director chooses to emphasize the sad exodus of multiple families that slowly move across the stage with their belongings in tow. It’s an eloquent, somber image but I missed the old poignant ending that had Golde insisting on cleaning the modest house before leaving it forever. That one, actually brought tears to my eyes the first time I saw it.
For times and tickets go to www.majestic/empire.com/tickets f