Fiddler On The Roof

I must admit to having a very soft spot in my heart for ‘Fiddler’. The music is beautiful, the dialogue witty and engaging and the story emotionally gripping as it echoes through history. It is a show that is full of dramatic twists and turns.

Letchworth Arcadians tackled this wonderful musical competently and with heart. Although there were several places where attention to detail could have made for a stronger production, their audience was pleased - as was evident in their laughter, dramatic silences and applause.

We were treated to a strong Tevye, who won us over as quickly as he welcomed Perchik into his home and he carried the show with ease. Add to the mix a stirring musical performance from the orchestra an innovative set design and some very effective lighting and the result was an enjoyable performance that had me thinking wistfully of my own past.

SET/STAGING/PROPERTIES

The stage at St Christopher’s School isn’t the biggest space to work with, particularly when staging a show with a large cast like ‘Fiddler’. So in order to compensate for what was by necessity a fairly sparse stage, some minimalistic paneling had been designed to set the backdrop to the scenes. The panels were used to greatest effect throughout and not once did I miss the interior of the house, the shop or the inn.

WARDROBE

The costuming for the residents of Anetevka was good for the most part, with just a few slightly-too-modern items sneaking in.  Some of the men’s hats felt out-of-place and boots and shoes were far too clean. Generally costumes were far too clean and there was little change to denote the passing of time through the year, but this is a perennial problem of the wardrobe of poor, hard-working people looking fresh from the shops. The attention to the main religious accouterments was thorough.

LIGHTING

The lighting design was very strong and used to dramatic effect in several key numbers. However there were a couple of “dead” spots on the stage DSC that proved unavoidable with a tall Tevye.

SOUND AND MUSIC

The production, which I have always thought of a ‘a play with music’ rather than a ‘musical’, lays heavy emphasis on it’s dialogue and as such the cast delivered excellently with volume and clarity. The orchestra sounded great and delivered the soulful score well - although I did have trouble hearing some of the cast’s vocals in the louder numbers.

CHOREOGRAPHY

The show isn’t heavily laden with opportunities for choreography, but there are some. “Tradition” “To Life” and the energetic setting of Tzeitel & Motel’s wedding. Most anticipated at the wedding is the famous bottle dance, which sees a line of chaps strut while balancing bottles on their hats. Unfortunately this did not work for me. Perchik, Motel plus two other men for me would have been more convincing rather than a ladies dancing chorus with false beards and buns falling down at the back. However, the choreography was good and the weaving patterns in Tradition, denoting the woven patterns of their homespun fabric was cleverly thought though, well done.

ENSEMBLE

It can often be forgotten that a strong principal cast is not enough to make a successful show. The ensemble is at least as important in creating a strong image for the audience. The ensemble for 'Fiddler' were willing if not always the most dynamic. The best numbers were ‘Sunrise Sunset’ and ‘Sabbath Prayer’ - mainly due to the focus on vocals and little movement. Another was 'The Rumour' - a delightful display of huddled gossiping across the stage and up and down the ramps at the front, with some strong solo lines delivered with gusto! There were some lovely harmonies that showed just what this society is capable of.

PRINCIPALS

Tevye: The pivotal character of the piece, Tevye (Steve Wilks) must be strong and engaging for his audience - and that’s just what we got. Tevye delivered comedy and drama in equal proportions and held his audience’s focus and attention well, without trying to mimic Topol’s famous performance. Great performance!

Golde: With the patience of a saint, Golde (Adele Walker) displayed her tolerance and strength within the household, and her love for her husband - particularly within ‘Do You Love Me?’.

Yente: Traditionally seen as the comic character, Yente (Elizabeth Shaw) sometimes has the propensity for becoming an over-the-top caricature. But not this time. She was light and funny with an air of realism that made her very believable.

Tzeitel: Eldest daughter of the house. Tzeitel (Lucy Walker) had some strong moments, particularly when ‘manipulating’ Motel into standing up to Tevye. She was well cast as number one daughter and

Hodel: Hodel (Sophie Walker) gets that beautiful song ‘Far from the Home I Love’, which is often a tear-jerker. I didn’t quite get the tears this time, but the emotional wrench as she leaves for Siberia was strong. Hodel’s voice was particularly strong and stood out from her fellow sisters. Biggest criticism has to be the lack of chemistry between her and Perchik - they seemed to come together because the script said so and not because of any attraction we could have been shown.

Chava: Poor Chava’s (Claire Bunyan) tragic tail that leads her to fall in love with Russian Soldier, Fyedka lead to a great performance - particularly in the final confrontation with her father. However, despite her shy, coyness around him, I struggled to see the blossoming love between her and Fyedka.

Motel: Motel’s a great part. The meek tailor (Dean Kirkbride) who has his own backseat driver, Tzeitel and who finally makes a stand for what he wants - and succeeds. I enjoyed his interactions with the blind Tevye, until he wins him over, including a great ‘worm has turned’ moment. Motel’s big number ‘Wonder of Wonders’ had a few pitching problems, but his acting strength saw him through. I loved the portrayal of this character, a young man to watch for the future.

Perchick: Anetevka’s visiting student Perchik (Cathal Prendergast) swept in and made his presence and his opinions well known. He was forthright and a dominating character on the stage. I’ve mentioned the lack of chemistry between him and Hodel and feel that some of his was down to his constant ‘anti-tradition’ motive. Even the looks between him and Hodel suggested by the lyrics of ‘Sunrise Sunset’ were missed.

Fyedka: It’s only a small part, but Fyedka’s (Sam Barrett) actions have a huge impact on the family. He was stoic and strong in his delivery but we still needed to believe that he really loved Chava and the passion was not there. I am sure this will develop with experience but don’t be afraid, the illusion is to make your audience believe

Lazar: Poor Lazar Wolf! ( Clive Dancey) What a time he has of it. He played out the part well and his banter with Tevye was well timed and funny, with the confrontation at the wedding making a nice contrast for his character. Well paced delivery of lines, and good facial expressions. A good well rounded performance.

This was a good solid production with excellent choral work and some strong principals. However, at this performance level one has to look beyond the overall presentation and ask oneself how well have the production team worked together, has enough historical research been done and was the director able to relate his vision to the rest of his team and the company. For the most part I would say yes.

I have fond memories of “Fiddler” both from a professional performance and a directorial view point and I enjoyed this production and the reaction it gained from its audience.

Thank you once again for your generous hospitality. The cake was yummy!!

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