“Dear God. It’s enough you pick on me. Bless me with five daughters, a life of poverty, that’s all right. But what have you got against my horse?” -Tevye
Tradition. No people have it more deeply entrenched than the residents of Anatevka, a village of Russian Jews at the turn of the last century. They take comfort in the old ways, a talisman against the fearful changes knocking at their doors. At the center of this village is Tevye, a poor milkman with five daughters, an open heart, and a sense of humor to illuminate the coming darkness. In the course of Pentacle’s newest musical, Fiddler on the Roof, Tevye and the people of Anatevka will learn that not even the strongest traditions can totally protect against the future.
Fiddler’s large ensemble cast successfully captures both the warmth and anxiety that fuels life in their small village. Jay Howe adds complexity to the role of the Russian Constable, the man who, though he rains tension and terror down on the residents of Anatevka, might just sincerely regret it. Lyndsey Fields Houser has a small role as the 30 years dead Grandma Tzeitzel, and manages to dominate the stage with her tiny body. Fred Allen leads the cast as Tevye. Allen avoids the temptation to fall into an easy stereotype, balancing a great deal of subtle conflict within Tevye. He gives the audience a man gentle with his family without being hen-pecked, a subjugation paired with strength, and dignity without arrogance.
Director Robert Salberg took on the challenge of making such a widely performed classic individual to himself and his theatre. One of the most successful ways he did this, with the help of set designer Tony Zandol, was visually. This included a stark and sharp set design that highlights the warmth of the performers as well as the conflicts they fight. One of the most electrifying elements of the play was Tevye’s dream sequence, where he claims to receive omens from the dead to guide his daughters’ lives. Salberg’s take on this classic scene is delightfully grotesque, a fantastic contrast the to comfortable familiarity of the rest of the play. The cast is transformed into cheerful monsters, and the ghost of the dead butcher’s wife is the stuff of very well-rendered nightmares.
Music and choreography are, of course, powerful elements in Fiddler. Music Director Christie Jungling and Vocal Director Sarah Zielinski succeed wonderfully with their cast and orchestra, achieving potent harmonies and gratifying arrangements with these classic songs. Especially moving is the Sabbath Prayer, a small and plaintive song that swells into one of the most poignant and representative moments of the production. Not all of the cast members who participate in Fiddler’s many dance scenes are blessed with natural ability. However, the energy in every dance number is so heartfelt, thriving and stomping, that even when it’s a little messy it still feels true to the piece.
Tevye’s daughters are falling in love, in the wrong manner. The Tsar is hounding Jews out of their home. Promises and deals will be broken; all that was stable will shake. Will the Fiddler be able to keep playing through it all, keeping his culture and tradition alive? Watch Pentacle’s The Fiddler on the Roof to find out.
Fiddler on the Roof runs through December 4. Call (503) 485-4300 for tickets.
