This Fiddler might need to tune his fiddle...** Let me preface this review by saying one thing -- I appreciate, applaud, and celebrate the achievement of every actor who has the courage to step on a stage. I also celebrate the creative teams who facilitate the mounting of productions. Regardless of what I feel about a production (again, this blog is strictly opinion based), I will never say that someone is "untalented" or "unfit for the theater." Some productions work. Some don't. I encourage everyone to go see theater no matter what 1 small reviewer may say or think. Theater is hard work and deserves to be rewarded no matter what. We are in a difficult time in the history of the arts. Support local theater. Please! It's such a vital part of our community and we need to be there. And that means the good, the bad, and the mediocre. **
Fiddler on the Roof has established itself as one of the true classics in American musical theater. From the second the audience hears that familiar fiddle start the show, they are thrust into the world of Anatevka. However, in this production, Anatevka is a bunch of mushrooms, sunflowers, and fabric. The whole show looked thrown-together and even the cast couldn't salvage this true classic.
In a show about traditions, director Paul Gurgol has opted to mess with some “traditions” that help to define Fiddler. Matchmaker has no mops, the scene where the Russians invade feels rushed and unmoving, and apparently women are allowed to consume alcohol freely at the bar??
Russ Borski, costume and set designer, did not succeed at his job. The costumes had no detail and were not always period. They looked like a bad comic strip and did not work at all. Motel wore a giant furry hat at his wedding (is he a pimp?) and Tzeitel wore a napkin for a wedding vail. It's as though the other half of the village was hiding from the lackluster sets and costumes. I have never seen a production of Fiddler where every man in the show had peyos ("Jewish curls"). While I understand the religious meaning behind this, I felt that it was too distracting on some characters. I have always thought that Fiddler would be a difficult show to design poorly – the material dictates so much to start with. And yet, somehow Russ Borski has managed to make me rethink that statement.
Trad Burns has done some very nice things with the lighting. He really paints a picture instead of just “tossing” light on a stage. His use of silhouette was effective. Larry Goodpaster’s orchestra was fine, however the cast seemed to be out of sync. Cut-offs and entrances were not together, and I lost many of the words due to poor diction. Richard Ingraham’s sound design was well suited for those characters who wore microphones. However the ensemble tended to be over-powered by the orchestra.
The cast is decent. However, the ensemble isn't strong at all, which is extremely detrimental for a show like Fiddler. The ensemble was just not together. Many of the men were even men! Most were clearly under the age of 17, at least. The vacancy of any real men in the ensemble was just bizarre. The most confusing part was witnessing the Russians at the wedding doing the bottle dance (their shiny pants and sloppy wigs did not suffice to disguise them). Do not double cast the Russians as Jews and put them in less than camouflaged costumes. The cast was far too small to be a convincing village.
The show is lead by the three daughters, Tzeitel (Morgan Greene), Hodel (Patricia O'Toole), and Chava (Dani Apple). The three girls shine with a wonderful performance by each. They work well with the direction given, but their performances could have been so much more given better direction. Greene is real and honest as Tzeitel, O'Toole is sweet and likeable as Hodel, and Apple is convincing and truthful as Chava. Even though the three daughters are perfect, their beaus do not match up. All three husbands are nice, but nothing special. George Roth takes a different take as Tevye, but it makes me miss the Tevye everybody knows and loves. Overall, I liked George Roth as Tevye, but I think other people fit the role better. Not for one second of the show did I buy Adina Bloom's performance as Golde. None of her performance was in the moment, real, or convincing. She wasn't “over the top”, just not real and honest. I give her an A for effort, but I don't think this role was her cup of tea. Rhoda Rosen is perfection as Yente. The Fiddler, though a seemingly great dancer, seemingly couldn't keep time with her pantomimed violin.
All in all, the show is just completely weighed down by the an apparent lack of direction, and the cast is entirely too small. Almost everybody in the cast (with a few exceptions) was flat, just like the cartoony set. I can only question Russ Borski and Paul Gurgol for their choices in this production.
Fiddler on the Roof
September 19- October 18
Beck Center for the Arts
216-521-2541
