Fiddler on the Roof

A broken rustic fence, a poor  hovel with a rickety wooden roof with a fiddler perched precariously on it, all backlit, Tevye appearing pushing his milk cart, then standing silently for a few seconds. This gave a wonderful sillouhette and set the tone for what resulted in a most dramatic and moving performance.
Taking on the role of Tevye was Chris Wakeford who moved easily from the careworn milkman complaining to God about his lot to the confused man not knowing how to cope with a changing world and yet trying somewhat to hold on to the old traditions. Here was an interpretation of the part in such depth and with subtle changes of mood, the humour, pathos and sadness all so well blended together. This was indeed a most excellent character.
Anne Wakeford gave a good performance as the long suffering Golde, Tevye’s wife, again showing a range of understanding of the role from excitement about her daughter’s marriage to the commandeering housewife who was frustrated at times with her husband’s lack of decision making.
Tzeitel (Isobel Oliver- Haste), Hodel (Alyssa Priestley) and Chava (Cheryl Morgan) as the three eldest daughters all showed rebellion and yet respect for the old traditions whilst trying to alter things in their own way. Hodel’s rendition of “Far from the home I love” was superb and truly emotional.
Motel (Jordan Ramsey) the shy and unsure tailor, Perchik (Jonah Thompson ) the radical revolutionary and Fyedka (Matthew Levesley) the young policeman who eventually flees with Chava as he does not agree with the brutality towards the villagers, all gave well rounded performances.
Josephine Owen as the Matchmaker, Yente, showed her talents in this role as the scheming arranger of marriages. Sue Gent and Esme Brooke as Grandma Tzeitel and Fruma-Sarah were excellent in the dream scene’
The supporting cast were on the mark with their small roles and complemented the major roles successfully.
Celia Aynsley and her small group of talented musicians accompanied the action without intruding or over powering the soloists and the choral singing was clear with good four part harmony.
The choreography was kept simple and proved effective, especially in the wedding scene.
The stage sets were good and scenery was moved with the minimum of fuss whilst the lighting was of a high standard and changed according to the on stage moods.
Director, Ian Stead, who also played a most impressive Lazar Wolf, has to be commended on his production.  The attention to detail, occasional use of silence to emphasise a point and the freeze-frame technique used in the  fight scene at the wedding certainly added to the overall presentation of this well known show.
This was an excellent production and the Society seems to be moving from strength to strength.

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