This is a memorable, sumptuous production of the classic Broadway musical and is part of the 75th year anniversary celebrations of Sydney’s oldest and largest Jewish school.
The scale of the production was lavish with a cast of more than 150 performers. All of the performers had connections with Moriah in one way or another, with many Moriah alumni in the cast.
The performance started with the Orchestra playing a delightful overture, then the play began in earnest with the Fiddler playing on the roof after which Tevye led a rousing version of ‘Tradition’. (‘Without our traditions our world would be as shaky as a Fiddler on The Roof!’). High above the stage there was a balcony/landing where a large choir- mainly children- accompanied the performers on stage.
Next we get to meet the Matchmaker Yente, an older version of J Date. Miriam Vera Barr delivered a nicely judged performance. There was some fast paced dialogue – ‘why does a women have to read/will it help her get married? Cue in a lovely version of the song ‘Matchmaker’. The philosophy is – whoever Yente comes up with will be good enough.Onto the stage comes Tevye with his wagon, without his horse, who had broken down. Tevye is talking to God, he does it frequently during the play as well as referring ‘to the Good Book’.Another of Tevye’s pet sayings is ‘on, one hand…’ and ‘on the other hand’…David Solomon gave a fine performance in the leading role. Cue in a lyrical ‘If I were a rich man’. ‘Would it spoil some vast, eternal plan, if I were a rich man?!’
We get to meet the Revolutionary Perchik, a good performance by Oliver Frumar, who becomes a teacher to the kids.
There’s a romance burgeoning between Motel played with shyness and charm by Joel Northman and Tzeitel, well played by Nell Cohen (Leah Reid in alternate performances).There was good chemistry between them.
The next highlight was a beautifully played out, evocative Sabbath service. ‘May the Lord protect and defend you, May he always shield you from shame’ with the mother lighting the candles and casting the evil eye away.
The next scene was the rousing To Life sequence set in an inn (the set for the inn was wheeled on and off as were many of the sets) with Tevye and Lazar Wolf, well played by David Baran, the butcher coming to an agreement for Lazar to marry his oldest daughter Tzeitel and then celebrating wildly and getting shikkered (drunk). This scene was played with very appealing high spirits and even included some cossack like dancing.
Tevye wakes up the next morning with such a hangover and some berating from his wife Golde, played with suitable Jewish mother traits by Evie Smith. Tevye, as is his want, starts one of his chats with God, . Then we get the scene where Tevye agrees for Tzeitel to marry Motel sparking the lovely song ‘Miracle of Miracles’ with Joel Northman in very fine voice.
The next scene was a wonderful scene, a fantastic dream sequence which Tevye concocts to justify to Golde why he has agreed for Tzeitel to marry Motel. The wispy costumes were amazing. Loved the woman on stilts. A great scene very well shaped by director Roberta Goot.
Another high spirited scene took place with Motel and Tzeitel’s wedding with joyous celebrations, including some males dancing with some glasses balanced on top of their heads. The scene featured the lovely ‘Sunrise, Sunset’ song. Some cossacks come in and destructively break up the celebrations. The curtain goes across and its interval on this ominous note.
After interval we learn more about the political unrest coming closer to Anatevka. Life continues on in the village and Tevye agrees to another daughter getting married. Hodel, played by Sasha Fisher, agrees to marry Perchik and Tevye gives his permission. The scene has another lovely ballad ‘Now I have everything’ with Perchik and Hodel singing. Tevye wisecracks ‘They’re both so happy , they don’t know how miserable they are.’ Perchik leaves town for the big city to continue his revolutionary pursuits.
Tevye breaks the news of Hodel’s marriage to Golde and then poses the question which becomes the ballad ‘Do You Love Me?’ Golde tells him how can she not love him after all the work that she has done for him over the years.
‘Far from the Home I Love’ sees Hodel waiting at a train station to go to Siberia where Perchik has been taken after being arrested. Tevye sees her off at the station. The song is a plaintive one.
Tevye agrees to two of his daughters choosing their own partners but doesn’t agree to the younger daughter Chava, played well by Elli Katz, marrying a non Jew, Fyedka, played by Eitan Franklin, He rejects her, saying she isn’t part of his family any more. The scene is well played. Chava is devastated. There is a lyrical, very poignant dance sequence that depicts the distress Chava feels.
The final scenes are very depressing as the reality of the political unrest hits Anatevka. Tevye is told by the local police that everyone in the shtetl has to leave within three days. Tevye orders him to leave his property but knows that their fate has been sealed.
Tevye and his community leave the village to the plaintive ballad ‘Anatevka’ the Fiddler comes down from the roof, so ends this great musical with the shocking onset of a pogrom.
Special mention has to go to Phillip Filler who does a wonderful job playing the village Rabbi who has seen much better days but is loved and looked up to by his community. And also mention to Claudia Fuchs and Jaimee Slot who play Tevye’s pre teenage daughters.
This is very fine production by Roberta Goot. Her creative team do great work, Simon Greer’s compact mobile sets, Benjamin Brockman’s atmospheric lighting design, and Roberta’s choreography with Tara Ende.
Stage manager Ned Matthews deserves credit for his contribution to a very smooth, polished production.
Highly recommended, FIDDLER ON THE ROOF is playing Moriah College until 1 November, 2018.
