"Fiddler on the Roof"

This is not a good time to be “openly Jewish” but, unless you’re playing one of the Russians, I suspect that’s what the Director wants from the cast of this production.  I have twice appeared as the beggar in this show but, prior to one production, many of us visited a synagogue in Leeds in order to “get in the mood”, as it were, and better appreciate Jewish traditions. Indeed, the opening number tells us how that’s what matters, but one of the lessons of the show is that occasionally we might have to learn to bend a little.    

The cast here certainly gave a good account of life in the village of Anatevka and of the occasional difficulties experienced at the hands of their Russian neighbours. The story is told through the eyes of Tevye, the milkman, as he struggles with the frustrations of a lame horse and experiences family life with a wife and five daughters.  Steve Tearle, already artistic director of the production and chairman of the society, added this part to his work load and no doubt this multi-tasking gave him an insight into Tevye’s lifestyle. This is, of course, a demanding role but he tackled it with apparent ease. His rendition of “If I were a rich man” was one highlight, although that of “Little Bird” as he finally feels able to bend no further and rejects his No.3 daughter as she wants to marry outside the faith was also memorable.  The older three daughters were well played by Maia Stroud (Tzeitel), Rebecca Jackson (Hodel) and Elizabeth Farrell (Chava) and their trio in “Matchmaker” provided a tuneful introduction to the family.  Perri Barley gave a good performance as Golde, sympathetic to her daughters as they seek to depart from traditional ways, yet amusing in the nightmare scene and in the song “Do you love me?” as she and Tevye reflect on 25 years of marriage.  The two younger daughters were nicely played by Alexa Lord-Laverick and Paige Sidebottom.

Much of the story concerns the love lives of the three older sisters.  Tzeitel, the eldest, wants to marry her childhood friend, Motel the tailor, rather than the Matchmaker’s choice, Lazar Wolf, the butcher, who, whilst rather better off financially, is somewhat older and, shall we say, less attractive. Chris Hagyard gave a good performance in this part, with a boisterous version of “To Life” as he and Tevye celebrate the proposed marriage, subsequently hiding his disappointment as Tevye gives in to Motel’s assurance that his daughter will never starve.  Finlay Butler gave a convincing performance as the character who eventually overcomes his lack of confidence and states his case for the marriage for which he and Tzeitel crave. Later in the show, he fulfils another ambition as he saves enough to buy a sewing machine and has a song “My sweet sewing machine”, which was cut from the original production but given a welcome revival here. Further complications beset Tevye as his second daughter, Hodel, leaves to marry Perchik, a somewhat radical student with an unusual interpretation of Bible stories. Kit Stroud handled this part with confidence whilst Rebecca Jackson’s performance of “Far from the home I love” as Hodel parts company with her father, whilst awaiting the train for Kyiv, was another memorable scene.  Finally, Chava seeks to marry one of the Russians, Fyedka, played by Callum Richardson.

All the supporting parts were played convincingly, Ali Butler-Hind as the busybody matchmaker, Yente, Kelvin Grant as the Rabbi with a blessing for everything, Toby Jensen as the Rabbi’s son and James O’Neill as the innkeeper. There were brief but memorable appearances by Pascha Turnbull as Lazar Wolf’s late wife, Fruma-Sarah and Carolyne Jensen as Grandma Tzeitel, both rising from the grave in Tevye’s nightmare scene, complete with flashing lights and pyrotechnics. The full company had a much quieter yet equally effective scene in “Sabbath Prayer” as they lined both sides of the auditorium with their candles.  Young Alice Atang oversaw much of the action as the Fiddler, perched on the roof as we entered and the last to leave with Tevye at the end. I must congratulate new M.D., Joe Allan, on putting together an excellent orchestra, apparently gathered from far and wide, using arrangements making great use of an accordion, all leading to an extremely authentic sound.  Both Jewish and Russian styles of dance were well captured in Melissa Boyd’s choreography and she looks forward to working on “West Side Story” next.

Although there is much humour in the show, the way in which the villagers are forced to leave their homes  makes for a much more poignant and thought-provoking ending than is the case with most shows and a headline in today’s Daily Telegraph “British Jews have their bags packed” brought me back to the realities of the present day and how some things don’t seem to change. On the other hand, as Tevye would say, the enjoyment provided by this show, celebrating its 60th anniversary this year, and almost three hours in the world of musical theatre with this company are some of them too.             

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