Fiddler on the Roof

~~Fiddler on the Roof – a timeless musical set in Imperial Russia during 1905. The story centres on Tevye and his family of five girls in a village which is trying to maintain its Jewish roots and traditions despite the attempts of outside influences. The three elder daughters select their own husbands and dispense with the services of the Matchmaker. Ultimately the Jewish enclave is evicted from the village following a decree by the Tsar. The concept of small communities being persecuted is still relevant today. It remains one of the longest running shows on Broadway and is a very popular production with both professional and amateur companies. This production maintained all the traditions whilst giving a fresh approach to staging and ensemble work.

A souvenir programme had been produced to celebrate the career and contribution to SDMS by the director Audrey Pring for whom this was her last show as director & choreographer. I am sure she will treasure the well deserved compliments and photos. Not only has she choreographed, directed and produced numerous shows she has also worked hard to help to preserve the Kings Theatre. She will continue as Life President for many years to come.

In terms of costume he end product created by the ensemble showed great attention to detail and particularly how the costumes should be worn at that time and in that place. From top to toe it was obvious that a lot of thought had gone into the costumes. The changes from one scene to another were executed well by crew in costume or members of the cast. The movement of props on and off stage was well choreographed. The set was appropriate for the stage and the covers for the flats changed through controlled lighting. The “house” had an interesting roof and was proportionate for the size of the “Fiddler”. All trucks and carts moved well and utilised the large stage space well. The sound from the pit was excellent and very well balanced. The musicians added to the all-round high quality of the sound produced by the company. They supported the principals well and credit must be given to the actual “Fiddler” who played the violin on stage.

There was a high degree of professionalism in the way this show was produced and the audience were in the thrall of the story throughout. The choreography was excellent and so many of the company showed a very high degree of proficiency not often associated with musical societies. The show was very well cast and the youthful members, who were able to work with more experienced actors and singers, showed real potential. There was not a weak link in this delightful production.

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