Fiddler On The Roof

If Jerry Bock and Sheldon Harnick had been sitting in the Empire Theatre, Blackburn on Friday 13th I can say with absolute confidence that they would have left feeling happy. This production ticked all the boxes. Everything about it was exemplary. It is unnecessary to comment on how relevant to the problems currently engineered by Russia it is, yet it is relevant to say that history does repeat itself and some injustices do not go away. Joint directors Gary H. Worthy and Tony Fry brought all the inherent messages of the musical to the fore with great skill. Relying entirely on the strength of the piece to carry it along they assured that the production was communicated with unstinting uniformity of playing. If the last part of that sentence seems to imply the cast were somehow average, I mean the opposite. The cast were all, to a person, outstanding. Having seen this musical many times since it first saw the light of day in 1964 I was delighted that (unlike many productions) positivity rather than negativity shone through. It is easy to suggest that this is a tragic piece. Yet tonight we saw Anatevka coming to terms with its fate, comfortably resigned to making its exodus;  journeying to fresh lands offering new opportunities.The one sided discussions with God underlined the inevitably of fate. For all its apparent injustices, in human terms, there may be a method in the mysterious working of the almighty after all.

Richard Hubbard in the lead role of the devout Tevye created a character whose pain and joy we could experience. We may not have always empathise with him, particularly in his unfortunate yet understandable (in his philosophy of life) rejection of Chava,  but we could see the wheels of his mind turning as he struggled with his beliefs and the binds imposed by the unbending demands of tradition. It was a performance of integrity much appreciated by every member of the audience. Richard showed us a decent man bowed down by unlooked for problems and challenges to his role as The Papa. All his well known much loved songs were movingly delivered. This was a facet of this production sometimes overlooked by both casts and directors. Yes we want to hear a good song sung well but how much better for both the audience (and the songs) if the singer can manage to instill emotion and convey what is referred to as the “sub-text” in dramas. It is down to the directors and musical directors to encourage their actors to bring out that effect which can, if achieved, be immensely rewarding. Every song we heard this evening had that element.

I regret that I often report that I have difficulty hearing all the words in musicals. Not so with this production. From the very first second to the very last I heard every word both spoken or sung. John Ormerod and his team are to be congratulated. Choreography was in the hands of the vastly experienced Katie Fry. It was superb! There is no other word I wish to use. I sometimes could not believe my eyes, such was its originality.  Likewise the band under the baton of eminent musical director Chris Andrews and with leader Helen Andrews played to perfection. As Golde Lynne Terry showed us aspects of her character's careworn yet supportive personality. She was like an unshakable force that somehow managed to cope with just about every trick of fate. 

One of my favourite musical numbers has to be Hodel’s “Far From The Home I Love”. I can think of no better person to convey its heartrending sadness than Laura Mitchell.   One of the newest members of the company is Lizzy Thomson. What a glittering stage career awaits her.  As Chava she shone brightly, giving us a performance of great charm.  Jennifer Whiteside as Tevye’s eldest daughter, Tzeitel impressed. Jennifer has a rare talent; completely able to convey complex emotions with assurance. As Bielke and Shprintze, Ale Di Gaetano and Eve Lomax gave first class performances.Motel, the tailor, is a gem of a role. Alex Laing is required to show us a genuine hard working young man who knows he will be a success in the world yet has some way still to get where he wants. We watch as he grows in confidence as his inner ambitions are slowly realised. Much to his initial surprise! It was an engaging multi-faceted performance. Ben Gray played the part of the thinker agitator Perchik to perfection. His swagger and confidence assisted him in creating a character  unwilling to compromise.Jason Shields as Fyedka and Martin Cottam as Lazar Wolf both gave strong performances. Jason, a newcomer to the society, is confident bringing years of experience enabling him to impress. I look forward to seeing more of him in the future. Likewise Martin made the most of his role with passion and good humour.

Yente the Matchmaker was played by Sue Fry. Sue is a most accomplished performer. She brought out aspects of Yente’s character I had perhaps not appreciated before. It was clear Sue was greatly enjoying this role. Robert Crane looked the epitome of a Rabbi and made the most of the humour in his role.Welcome back to the stage Barbara Chadwick. Grandma Tzeitel is a small but crucial role. Barabara played it charmingly. I have seen productions where Fruma-Sarah has been created with such savage menace that little children had to be escorted from the theatre in fits of tears. The ever capable Brenda Murray showed us how it should be done. It was a directorial masterstroke for her to appear above Tevye and Golde’s headboard. Brenda’s expressions and deliberate slight pauses while holding a pose were magnificent.

The costumes and props were excellent. The set with the twinkling lights of the town peeping through was appropriately atmospheric. 

I do hope I have conveyed the sheer joy this production engendered. The standing ovation was utterly deserved. 

I offer my appreciation and admiration to Gary H. Worthy and Tony Fry for putting all the varied components of “Fiddler On The Roof”  together thereby allowing us to enjoy a mini-masterpiece of musical theatre.

PRM.

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