Fiddler on the Roof

From the opening, with the solitary figure of a highly accomplished fiddler perched on the roof of Rep Teyve’s small house in Anatevka, to the closing scene, when the stage was cleared both of cast and set to represent the systematic clearance of this small Jewish community whom we have followed through heartrending moments of both joy and sorrow, there was not a weak link in this show.  A confident, self-assured yet clearly devout Teyve (Richard Gorton) was the rock of both the family and the production, giving a sterling performance throughout. He brought humour and pathos in equal measures together and there was clearly a real connection and affinity between Tevye and his family.  The relationship he created with Golde (Mandy Pearson) was beautifully encapsulated in their duet “Do you love me”. However, Golde also showed an enduring assertiveness with both her daughters and her husband, creating a truly believable mama.    Tevye always ensured that his fellow cast members were also given their chance to shine.  This was particularly evident when each of his three eldest daughters sought his approval for their respective marriages.  All three daughters gave a humorous, well executed performance of “Matchmaker”, establishing the sisterly relationship which was well maintained throughout the show.   Tzeitel (Alice Trow), the first to break with tradition and make her own match, gave a convincing performance as a young woman in love with her childhood sweetheart.  Her determined nature reflected that of her father’s and contrasted well with the hapless and irresolute Motel (Stuart Whittingham).   However, his energetic rendition of “Miracles of Miracles” captured the exuberance of their young love.   Hodel (Hannah Irena Wilson) gave an outstanding vocal performance of the haunting “Far from the home I love” and was satisfyingly matched with the student Perchik (Luke Cardwell).  Chava (Georgina Kingston) danced beautifully in the reverie of “Chavelah” and showed maturity beyond her years with her final goodbye to the family. Other performances of note were Fruma Sarah (Roselyn Shallcross) and Grandma Tzeitel (Angela Mansfield) who both excelled in the “highly” theatrical nightmare sequence at the end of Act 1.   The attention to detail in the choreography and overall staging was accomplished, with lovely use of groupings maximising the space available.  The dance numbers were further enhanced by a small group of young men who rose to the challenge of both the Cosak and Bottle dance with sureness and precision.  There was strong support from a vocally cohesive chorus. The orchestra was well balanced and never intrusive on the action. The ambitious set was moved with ease either by cast members or costumed stagehands, creating pleasing insets to the generous stage and was sympathetically lit, the sunrise/sunset being a favourite element.  Although there were some sound issues, and during the performance I attended the curtain had to be brought down temporarily due to an audience member taking ill, the cast never let these disturbances affect their performance. Many congratulations to all involved. 

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