Fresh spin on ‘Fiddler’ is ‘a masterwork’
A masterwork of musical theater, “Fiddler on the Roof” achieves a sublime fusion of rueful comedy and pathos when done just right.
A joyous example: the life-affirming and gut-wrenching national tour,
which opened Dec. 14 to applause, laughter, sighs and tears at the Palace Theatre.
Based on the most-recent Broadway revival by director Bartlett Sher, this splendid production is rooted in realism and Jewish history that paradoxically broadens the appeal of its universal themes of family, faith, tradition and generational change.
At the heartwarming center of this tour is Israeli actor Yehezkel Lazarov, utterly charming as Tevye, the poor Russian Jewish milkman who talks to God as much as his wife, five daughters and fellow 1905 Anatevka villagers.
On the one hand, Lazarov’s wry, questioning but respectful “If I Were a Rich Man” satisfies all expectations. On the other hand, Lazarov’s later monologues transcend them.
Lazarov and Maite Uzal, similarly down-to-earth as Tevye’s dutiful, hardworking wife, develop gentle chemistry together. That pays off best in their mutually hesitant, halting “Do You Love Me?” duet.
As Tevye’s three older daughters, Kelly Gabrielle Murphy’s Tzeitel,
Ruthy Froch’s Hodel and Noa Luz Barenblat’s Chava project intelligence, passion and courage. They transform “Matchmaker, Matchmaker,” often merely a musical-comedy-styled highlight, into a still-amusing but anxious drama of hope and dawning dismay.
As timid Motel the tailor, propelled by Tzeitel’s love to declare his marital intentions to Tevye, Daniel Kushner amusingly charts the classic transformation from mouse to man. His climactic self-discovery and self-congratulation provides the perfect segue into his rapturous “Miracle of Miracles.”
Other musical peaks: Hodel’s sorrowful farewell “Far From the Home I Love” and “Now I Have Everything,” a sweet duet between Hodel and Solomon Reynolds’ student-revolutionary Perchik.
Apt comic relief comes from Brooke Wetterhahn, reveling in her double role as match-making Yente and Grandma Tzeitel; and Rosie Webber, threatening Fruma-sarah in Tevye’s deceptive and hilariously exaggerated dream sequence.
Overall, the large ensemble’s vibrant singing and terrific dancing bring out the best of the tuneful, poignant score by composer Jerry Bock and lyricist Sheldon Harnick and the wise, endearing book adapted by Joseph Stein from
Sholem Aleichem’s Yiddish tales.
The live 12-person orchestra backs the strong vocals, using mandolin, flute and violin to accent the plangent beauty of the songs and instrumentals.
Original choreographer Jerome Robbins, a true co-creator of this goldenage hit, is rightly remembered for his signature dancing in “Fiddler.” His show-defining work, which “inspired” this revival, according to the program, deserves and receives respectful attention here.
Israeli choreographer Hofesh Shechter adds immense vitality and irrepressible individuality to the dancing. From the boisterous camaraderie of the Jewish villagers and Russian visitors in “To Life” to the gradually accelerating progression of “The Wedding,” topped by vodka bottles carefully balanced on some men’s hats, I’ve never seen a better-choreographed “Fiddler.”
Michael Yeargan’s rustic scenic design, lovely under Donald Holder’s autumnal lighting, adds emotional resonance through subtraction, ultimately exposing the stark truths of this emblematic tale of refugees torn from home and families.
Thanks to this rich and fresh revival, “Fiddler” resonates even more in a fearful era when many feel that their lives and livelihoods may be as precarious as ... a fiddler on the roof.
mgrossberg1@gmail.com@mgrossberg1