Fiddler on the Roof

Fiddler on the Roof - This show never ceases to reveal something different to think about.  The many themes that run through this show reflect several periods in history and probably more to come.  Refugees being without homes is just as prevalent today as it was when this show was set at the turn of the 19th century.  Arranged marriages, marrying outside the faith, leaving home all went into the plot.  The undercurrent of anti-Tsar feeling, talk of revolution and government pogroms all contribute to the colour and flavour of this show. Every ounce of emotion came over the footlights with this production.

The open stage caused quite a stir before the lights went down -the audience being enthralled by the set being on two levels taking out some of the seating at the front of the auditorium. The higher of the two levels represented Tevye’s house including both the kitchen and the bedroom with access offstage to other parts of the house.  Downstage the lower level was used for outside scenes and, with minor adjustments, the inn, the railway station the village, Motel’s tailor’s shop and other outside scenes.  The whole set including the roof for the Fiddler was inspired both in concept and in execution. The design of the stage entrances was most effective and gave the cast ample space to move through without exposing backstage. The attention to detail for props was essential in this production and there was nothing out of place. 

The lighting was subtle, creative and purposeful.  A great deal of thought had been put into the lighting plot to enhance the various areas of the stage particularly the steps from where Tevye was seen to communicate with God.  The Fiddler, actually on the roof, was well lit and good use was made of this ‘real’ fiddler. The dialogue and singing were clearly heard throughout.

The overall impression created, particularly in the ’Tradition’ scene with the whole cast, was spot on.  The variations of costume for villagers both Jewish and Russian were very appropriate.  The difference in attire between a male villager and the student, Perchik, could have been more obvious. The principal characters were supported in creating their characters by most appropriate clothing as were the chorus. 

The band conducted by Steven Bean created a very good sound and the scenes requiring mandolins or accordion sounds were most effective.  Putting the orchestra at the back of the stage certainly worked with this production.  A good balance throughout.

This was a truly fine production of Fiddler on the Roof.  From beginning to end the attention to detail was outstanding - from the inspired but practical stage set to the subtle lighting and makeup - from the well-crafted music and singing of high quality to the superb acting and interplay between a strong but well-balanced cast.  The choreographer, Annie Venetti, was responsible for the fine moves in three of the numbers including ‘Matchmaker’.  The principal line-up was headed by Martin Sampson as the hard done by dairyman, Tevye, with a wife and five daughters.  He was truly outstanding and never dropped his persona for a single moment which considering he was on stage virtually the whole time which was a feat in itself.  His command of the role and his stage presence was admired by all around me.  He was very ably supported by Natasha Halliwell as Golde , his wife who played the role as if it was written for her.  Each of the five daughters had their role to play in the development of the story, Hodel played by Ellen Wignall falls in love with Perchik, a student.  Their rendering of ‘Now I have Everything’ was very moving. Tzeitel (Charlotte Thompson) falls in love with the village tailor, Motel (Gareth Brown), and they plead to be allowed to marry.  Charlotte and Gareth played their parts with sylish ease.  Tzietel was previously ‘matched’ to the village butcher Lazar Wolf played stoically by Nigel Morley. Maureen Collins was well-cast as the Matchmaker Yente, A plaudit should go to Sue Sillett who so ably played the role of Grandma Tzeitel in an incredible costume. Each, and every, member of the cast was superb and contributed to the success of this tremendous production so my apologies to those who have not been mentioned by name.

Congratulations to Sue Sampson for her insight into this story and for her interpretation of the show.  Congratulations to Steven Bean for bringing together a group of musicians who truly set the musical scene in Russia at this time.  Congratulations must also be given to FAOS themselves for their dedication and application in putting on this production which truly showcased the great range of talent within the Society both on and off stage.

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