What: Fiddler on the Roof
When: 29 December – 27 February
Where: Princess Theatre
Directed by: Roger Hodgman
Musical direction by: Kellie Dickerson
Cast includes: Lior, Mark Mitchell, Sigrid Thornton, Anthony
Warlow, and Nicki Wendt
Set by:
Richard Roberts
Lighting by: Paul Jackson
Sound by: Michael Waters
Fiddler
on the Roof is one of the great classic musical theatre
shows and is playing now at the Princess Theatre until the end of
February. With a time tested story,
music that won’t leave your brain for days, and a star the magnitude of Anthony
Warlow it can’t go wrong and it doesn’t.
Fiddler
on the Roof is (in précis) the story of a poor Jewish
milkman who lives in a small town in Russia (Anatevka). He has 5 daughters, 3
of which are at marrying age.
Whilst it is not clear if the Jews of
Anatevka are Hasidic, they are definitely orthodox. In that regard their entire
societal structure functions through a series of rules and practices which are
clearly laid out and not open to debate.
These practices are part of tradition.
As Tevye points out right at the beginning, nobody really remembers why
they exist or where they come from, but they follow them anyway because they
always have and it helps keep change at bay.
Fiddler
on the Roof, when it was first performed, was criticised
for being culturally sanitized and this current production directed by Hodgman
certainly lives up to that. There are so many deep and painful themes in the
musical, but as is Hodgman’s style, they are swept aside and hurried past so
that the audience can move on to happy or funny stuff. It is a shame because
this musical allows for both.
Perhaps I expected more depth because
the casting has such depth of acting talent, and in interviews Hodgman admitted
that he was looking to give original production a focus on the characters and
their story. Perhaps another subliminal mistake was made by the cast. In an
interview with Thornton she said that everyone was aware that this was Warlow’s
show and their job was to support him. A
noble idea, but to be honest the show could have done with a bit of competitive
scene stealing.
The show starts with a heart pounding
and exhilarating rendition of ‘Tradition’, and had the audience clapping along
right from the get go. The characters are introduced perfectly so that we know
who everybody is, and vocally this is one of the finest ensembles around. Dickerson’s conducting is also superb and
musically everything about the show is flawless. You will sway with ‘Sunrise,
Sunset’ and swoon to ‘Matchmaker’, and tears will flow and breaths will be held
in ‘Do You Love Me?’.
Warlow (Tevye) is everything you might
expect and so much more. Is there anything this man can’t do? His singing is heavenly, yet so full of
character and intention. Warlow has mastered the art of the throwaway line
which has not been thrown away, and the truth, energy and depth of his
character interpretation is a joy to watch – positively mesmerizing!
In an interview Warlow expressed concern
about performing this role, but eventually came around to the idea by
approaching it from the angle of a Polish Jew. I have read a couple of reviews
which implied that he has interpreted Topol’s Tevye, but Warlow is very clear
about steering clear of that, and I think he has succeeded. He is playing a father who is dealing with
progress and his performance is honest and intimate.
One of the biggest problems with the
show is the casting of Thornton as Golda. She is a marvellous actress, but does
not have a singing voice that can in any way match Warlow which is a problem
because they do a duet. She has tried to cover this by trying to speak/sing as
a character but it doesn’t work, and is still isn’t strong enough against
Warlow (even with him toning down his own abilities).
Mitchell is wasted a bit as Lazar Wolf.
Part of the problem is the script, but the direction gives him no opportunity
to play to his strengths. The reality is that it could have been any actor
under that hat and beard. It is a shame.
Wendt was really the only true match for
Warlow. Playing the Matchmaker, she delivered her acerbic lines with energy and
just the right amount of wit. She is perhaps the only one, other than Warlow,
who did not get lost in the crowd.
Robert’s set has been designed for
touring. It forms a box set (a concept that I thought had died decades ago but
which seems to be compulsory for musicals these days). It is cleverly designed
something like a jigsaw puzzle, with the pieces cut to the shape of houses,
some of which are pulled out on stage to reveal locations such as Tevye’s
house, the bar, and Motel’s workshop, only to be pushed back into place when
the scene is finished.
At first I was disappointed, thinking
Roberts had just fallen for the standard blue/orange aesthetic dominating film
at the moment. Thinking about it a bit deeper I realised that Roberts was a
much greater designer than that. What he has done is referenced the colour
palette of Marc Chagall. Chagall was a painter whose work influenced the title
of the play and also the original set design.
I suspect the possibilities inherent in
the use of the set go far beyond the scope of Hodgman’s direction, but despite
the lack of directorial exploration Jackson has done a wonderful job of
lighting what is quite a flat and barren landscape. He has found ways to make
the Chagall blue of the set come alive with nuances of grey and greenish tinges
which are subtle yet effective. My only
hesitation is the nightmare scene. It doesn’t work for me and felt jarringly
out of place.
Water’s sound design is perfection,
which nicely matches the talents of Dickerson. Trained ears will be able to
hear the strengths and weaknesses of various voices, but Waters has balanced
them immaculately so that the rooms swells regardless. Music and dialogue sit
comfortably side by side and nothing is lost or distorted. It is a joy to
listen to this production on every level.
This original Australian production of Fiddler on the Roof will have you
leaving the theatre smiling and humming the tunes. I am not sure that is entirely right given
that the story ends on an exodus, but it’s okay.
The story is an important one given the
struggles in Australia at the moment with immigrant communities trying to find
their place in our Western dominated culture. Whilst the characters are Jewish,
this story speaks to all cultures where tradition is challenged by progress. Fiddler on the Roof doesn’t provide
answers, but it makes us feel less alone in the struggle.
4 Stars
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