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Fiddler on the Roof
Date of Show:
Friday, 20th May 2011 (All day)
Venue:
The National Theatre
Regarded as one of music theatre’s classically timeless pieces, Fiddler on the Roof tells the story of Tevye and his family’s ‘modern’ tale in the Jewish village of Anatevka in early twentieth century Tsarist Russia. CLOC have magically brought to life this tale, which encompasses the village’s journey through joys, hardships, oppression, optimism, and tradition.
‘The Fiddler on the Roof’ is a metaphoric symbol of balance and stability. Upon first walking into the theatre, the audience is witness to a marvellous empty setting, featuring a still figure perched upon a rooftop. Jonathon White plays our Fiddler on the roof. Although a silent role, White is a silently present figure throughout the show. Most notably, whilst he did not play the violin live, he very convincingly fiddled throughout the night, with attention to each finger movement and bow stroke, whilst he ably danced around the stage.
Artistically, this production excels, and co-directors Chris and Lynette White have brought exceptional understanding and attention to every detail placed on the stage. Phillip Osborne’s orchestra is tight and rich in sound. Chris White’s set design encapsulates the village of Anatevka in what could be likened to a Disney setting. Each brick, stone, and wood grain is detailed on the elaborate set. The floor is painted accordingly, and provides further depth to the detailed village. Victoria Horne’s costume designs are complete and appropriate to the period and class. Sound design by Alan Green was well balanced throughout the night; although I do understand that this changes in various areas of the theatre – I’ll attest to the fact that my seats were good! The lighting design by Brad Alcock brings an appropriately captivating quality to every scene, highlighting the stage and its performers, setting moods and seamlessly differentiating between the narrative, fantasy, and Tevye’s inner dialogue. If I may also add, the program is thoroughly well designed in its detail and layout.
As Tevye, patriarch and respected villager, Peter Nicholls leads a well formed cast. Nicholls brings a wealth of experience to the stage. His portrayal of the role was grounded, and his comic subtleties well executed. Lindy Yeates looked suitably worn and gave an equally firm, but warm performance as matriarch, Golde. Michelle Crupi, Lauren McCormack and Clari Riven sang sweetly and bonded well as the family’s eldest daughters. Crupi and McCormack convincingly portrayed their struggles in love against a traditionalist community where ‘matches’ are made for the townsfolk. Despite having a sweet and sincere presence, Riven struggled to maintain a consistent accent throughout the show, which detracted from some of her more emotionally charged scenes. Generally speaking, accents amongst the Jewish community were inconsistent and various characters could afford a slower pace on certain lines, however, the outsiders to the community all spoke with accents relevant to their different backgrounds.
Barbara Hughes as Yente the Matchmaker, was perfectly cast in her role as the town gossipmonger with more to say than she could catch a breath. Adam Bianco also delivered a strong performance as Perchik, with conviction and a great onstage presence. Shane Prichard’s Motel was energetic and likable despite his clumsy nature and Geoff Sussman provided instant comic relief as the adorable village Rabbi. Barry Mitchell achieved a fantastic feat providing a comical and suitably gloomy last-minute replacement in the role of Lazar Wolf, with two days to learn the role and show from scratch – it is my understanding that he had never seen the show before.
With a 48-member cast there were many to watch. Often, a large cast can cater to a purposeless ‘mass people’ effect, but I was pleased to see this was not the case. It was delightful to note that from the very first company number, ‘Tradition’, each member of the cast had embodied their own individual character. Lynette White seamlessly choreographed the cast around the stage with clever and appropriate movement, and attention to groupings. Other notable mentions in the cast include Glen Barnett with a strikingly powerful singing voice and rich tone, David Gedicke’s firm but considerate Russian Constable, and the four Cossack Dancers, played by real life Ukranian Cossack dancers Alex Dechnicz, Andrew Kobas, Bohdan Myroniuk and Michael Popowycz.
Two scenes come to mind as particularly engrossing throughout the show. The wedding scene, which I found to be exuberant and invigorating; and the dream sequence featuring Karen Greenwood’s Grandmother Tzeitel and Katrina Pezzimenti’s Fruma-Sarah in a ghoulish, surreal setting. The latter was not only set creatively around the space, but featured mystical lighting, costuming, makeup, and delivery contrasting completely from the rest of the show.
It is my recommendation that you make the effort to see this show. I’ve never overly cared for Fiddler as a piece of theatre, but this production did engage me more-so than previously seen presentations of the musical. CLOC’s staging definitely presents a depth that I had not found or connected to in this story, and I would argue that others who don’t often enjoy this show may also find this production changes the perception that this show is one of many that has dated or become irrelevant since its original presentation (in 1964). If not, you will at least find something to appreciate in its no-expense-spared artistic value. For fans of the piece, you will not be disappointed.
Christian has performed in a variety of roles including, ‘The Lion’ and ‘The Tinman’ in productions of The Wizard of Oz, ‘Tommy’ in Annie Get Your Gun, ‘Nick’ in Fame, ‘Marius’ in Les Misérables, ‘Michael’ in The Witches of Eastwick and ‘Billy’ in Anything Goes in his home town, Geelong.
Since moving to Melbourne he has performed with Whitehorse Music Theatre in A Chorus Line as ‘Paul’, as a ‘Wickersham Brother’ in Seussical and ‘Benny’ in RENT. He was ‘Eddie’ in CLOC’s Blood Brothers; ‘Austin’ in I Love You Because with SHooSH! Productions; ‘Danny’ in PLOS’s Grease and performed various roles in Working with 3 Big Men Productions. Recently, he was in the cast of John Bucchino’s It’s Only Life produced by Stella and DTM. Last year he worked as assistant to the director for [title of show] by Magnormos. He will soon originate the role of Martin in Rowland Braché and Lauren Seymour’s original musical Once We Were… and is currently in rehearsal as Director of GSODA Inc’s Eurobeat: Almost Eurovision to be staged in August. Christian works as a graphic designer by day and freelances as Caval Design.
State:
VIC