Anthony Warlow in Fiddler on the Roof; photo by Jeff Busby.
At a time when the peoples of the world are being forced out of their homes in ever-increasingly numbers and seeking refuge in the homes of far-flung relatives and on distant shores, this poignant musical about family, bigotry, and the clash between change and tradition feels more timely than ever.
Set in the Russian village of Anatevka in 1905, where Jews and gentiles co-exist in uneasy peace until the Tsar enacts a law to force the Jews from their home, Fiddler on the Roof is significant for a number of reasons. The original production, which successfully fused wry Yiddish humour with popular appeal in songs such as ‘If I Were a Rich Man’ and ‘To Life’, was the first musical to run for more than 3000 performances on Broadway. Notably, it brought a serious tone – including depictions of anti-Semitic violence and forced exile – to the stage musical, a genre usually associated with slighter themes; and its dramatic exploration of a family divided by the forces of change while struggling to stay true to their traditional beliefs and practices remains affecting and resonant.
This new Australian production, directed by stage veteran Roger Hodgman, is strong and engaging, though unfortunate stunt casting has resulted in some lukewarm inclusions among the otherwise fine ensemble.
As the narrator and central character, the impoverished milkman Tevye, Anthony Warlow excels; he sings with passion and conviction, and his accent is consistent throughout, though occasionally his delivery of key lines of dialogue ​doesn’t quite hit the mark, a minor flaw which he will no doubt overcome as the production develops. It’s otherwise a superb performance, rich, heartfelt and truthful, and reminds us why Warlow is considered one of the brightest stars in the Australian music theatre firmament.
More problematic is the casting of Sigrid Thornton as Tevye’s wife, Golde; she plays the role with polish but lacks the grit and steel necessary for a character written as her husband’s foil, and her singing voice is notably thin and hesitant, especially in ‘Sunrise, Sunset’, where she is clearly outclassed by Warlow.
Folk-pop singer Lior, as the nebbish tailor, Motel, is also problematic; he has a pleasant enough voice and stage presence, but lacks the acting skills to truly convince in the role, and his vocal style feels out of place in a music theatre production, lacking the rich timbre to make a song like ‘Miracle of Miracles’ truly distinctive.
Conversely, Nicki Wendt as the village matchmaker and gossip Yente is a delight; she ensures that her character has warmth and charm instead of being merely stereotypical, and both her singing and her comic timing impress.
Equally impressive is comedian and character actor Mark Mitchell as the butcher Lazar Wolf, who aspires to marry Tevye’s eldest daughter Tzeitel (Teagan Wouters) only to be rebuffed when Tzeitel bucks tradition by marrying the tailor Motel Kamzoil instead. Mitchell has a rich, warm presence and a pleasant singing voice, well-suited to his role and impressively displayed during the energetic ‘To Life’ sequence, set in the village tavern and briefly uniting both Jews and gentiles in celebration.
Supporting roles – including Tevye’s headstrong daughters Hodel (Monica Swayne) and Chava (Jessica Vickers), and the men they seek to marry despite convention and tradition, the young radical Perchik (the compelling Blake Bowden) and the Russian Orthodox Christian, Fyedka (Jensen Overend, hampered somewhat by an awkward accent) – are also strong, with Swayne in particular impressing.
Hodgman’s direction keeps the ensemble moving tightly and smoothly, and the choreography by Jerome Robbins (re-created by Dana Jolly) delights, particularly in sequences such as ‘To Life’ and the first act closer, ‘Wedding Dance’ (which also beautifully embodies one of the great strengths of music theatre: the marrying of dance, song and performance to compress and convey the essentials of theme and drama instead of bogging everything down with laboured and expansive dialogue).
Paul Jackson’s lighting design is understated but striking, at its most evocative in the number ‘The Dream’, when a dead man’s wife returns from the grave to deliver a (fictional) curse; and Richard Roberts’ uncluttered set design is simple but effective, especially in the production’s final moments, where it effortlessly evokes the holes where homes used to be.
As the curtain fell on the final, tragic scene of Fiddler on the Roof, so did this reviewer’s tears; and when Warlow took his curtain call the audience leapt to their feet. A fine though slightly flawed production of an enduring classic, and one which will only improve as its season continues.
Rating: 3.5 stars out of 5
Fiddler on the Roof
Book by Joseph Stein
Lyrics by Sheldon Harnick
Music by Jerry Bock
Based on the Sholem Aleichem Stories by special permission of Arnold Perl
Directed by Roger Hodgman
Musical Direction by Kelly Dickerson
Jerome Robbins’ original choreography reproduced by Dana Jolly
Set design by Richard Roberts
Lighting Design by Paul Jackson
Sound Design by Michael Waters
Cast include Anthony Warlow, Mark Mitchell, Sigrid Thornton, Nicki Wendt and Lior
The Princess Theatre, Melbourne
29 December 2015 – 27 February 2016
Capitol Theatre, Haymarket
24 March – 24 April 2016
