Selling Anatevka
Reviewed February 17, 2006
Music by Jerry Bock; Lyrics by Sheldon Harnick; Book by Joseph Stein
Directed by Don Doyle
Hale Centre Theatre, Gilbert
(480) 497-1181
February 16th - April 1st, 2006
$20.00 - $22.00
I’ll
admit that I was skeptical about Bock and Harnick’s Jewish-themed Fiddler
on the Roof being produced at Hale Centre Theatre.
I’m always wary about musicals performed here, although more times
than not, that wariness has been unjustified. Then why was I particularly
hesitant here? I’ll fess up: religious snobbery. I’m always
afraid when a show this heavily based on an understanding of Judaism
is mounted with way too many goyim involved. It’s about
details, about letting the musical get in the way of the story, and about
the lack of understanding of the subtleties of the hope and resignation
that drives the inhabitants of the script. Simply put, I’ve seen
too many a glitzy Fiddler. Here’s my mea culpa: Don
Doyle and the cast and crew at the Hale have avoided the common
pitfall and found a way to sell Fiddler in the best way possible.
There definitely are problems with this production, the biggest being
the lack of actual strong singers in the cast, but in most every other
way, they have proven me a total ass for assuming.
One of those ways is by avoiding glitz for honesty. Thirty people in the round? Doyle pulls it off by facing people outward, keeping them constantly but believably moving so that all sides can see all actions and reactions. Theatrical costuming? Sandy Bishop and Corrin Dietlein have done their homework. Charlie LeSueuer as a Rabbi? He doesn’t overplay or stereotype. He’s just a sweet, daffy old man, which is the perfect choice. John Autore and Carl Shulak’s set is spare, suggestive. The two circular platforms in the middle are initially brilliant, but prove problematic for Sarah Parish’s energetic and well-crafted dance numbers. There is still a lot to like here.
The greatest thing about the show is the ensemble. They aren’t just showing us Anatevka, they are Anatevka. Barbara McGrath is Yente in spirit, not just in performance. Underneath his hilarious fake beard, Curt Wooley gives his best performance that I’ve seen as Lazar Wolf. Ethan Lawrence is a committed, sweet Perchik. Zach Tolchinsky does a spectacular portrayal of Motel’s character arc. The villagers, the Russian soldiers, all invest themselves. It’s a sight.
Tevye and his family are a solid unit. Michael E. Bryce does double duty as Tevye, but he is also the music director, and this may be one job too much. Bryce is congenial as the Dairyman on speaking terms with the Creator, earnest and gifted with his comic timing. However, a problem with the music, most evident when Bryce is singing, is the tendency of the performers to sing half a beat behind the recording and flat. This may be a problem with the speakers on the stage, but it is an annoying hitch nonetheless. I love Petey Swartz as Golde. She is an imposing, loveable ogre, and her basso profundo of a voice is so very different from anything I’ve heard in the past. Amirah Ismail is a lovely, expressive Tzeitel, Laura Bruce is a committed Hodel, and Margaux Fox lives up to her character’s sweetness as Chava. They are an excellent example of the strength of selling a song over the problems of harmonizing in “Matchmaker.” They don’t seem to be able to sing together, but their characterizations make the song work all the same. Another problem is inconsistency of diction. The worst of the many offenders of the mushmouth is Star Parra’s silly Frumah-Sarah. I couldn’t understand a single word she sang during one of the funniest moments in the show, but she was funny all the same.
I’m also very picky about the choice for the Fiddler (here played with reckless abandon edging on mania by Dustin Loehr). This musical should never-never-never-never-never feature someone who can’t at least scratch out a tune on the fiddle. Especially by someone who appears to be at the high end of hysteria.
This isn’t a perfect show. It isn’t an overwhelming production. It’s just an earnest offering with some very good moments and a lot of honesty and connections. The sold-out audience’s standing ovation at the end was actually well deserved this time around. Be sure to go and decide for yourself. I suspect you’ll find yourself standing as the lights fade.
