REVIEW: CTG DOES NOT FIDDLE AROUND WITH A SUPERB “FIDDLER ON THE ROOF”

By Ruth Ross

From the soulful opening notes played by the young fiddler (Zachary Catron, on a roof) to the final mournful strain, the warmth of Fiddler on the Roof fills the 99-seat Black River Playhouse in Chester to overflowing.

Helmed by the always-fine Director Clifford Parrish (who also oversees the lush musical accompaniment by 10 musicians), a multi-generational, multi-ethnic cast transports us back to 1905 to the little shtetl (Yiddish for "village), Anatevka, on the eve of the revolutionary period in Russia. There, the hapless, impoverished milkman, Tevye, endeavors to marry off his five dowry-less daughters and keep peace in his house, while attempting to maintain the traditions practiced for centuries by Orthodox Jews. It seems that the revolutionary spirit threatens more than just the Czar!

Written by Jerry Bock (music), Sheldon Harnick (lyrics) and Joseph Stein (book), Fiddler on the Roof made its Broadway debut in 1964, became a film in 1971 and was revived in 2008; it is not a staple of community theater because it requires a large cast. Chester Theatre Group planned to produce the show five years ago, but when the rights were pulled, they had to make other plans.

The wait was well worth it. The (very) small playing space fairly pulsates with emotion and energy, with dancing villagers (nimbly executing clever choreography by Megan Ferentinos), menacing Cossacks, dewy-eyed lovers and, of course, Yenta, the town busybody whose plan to marry off Tevye's eldest daughter Tzeitel sets the tale in motion. Tzeitel's refusal to wed the old butcher Lazar Wolf (after her father had contracted for her to do so) means that Tevye must use his wits to get out of the bargain. Tzeitel's example empowers Hodel to give her hand to the revolutionary student Perchik and the younger Chava to run off with a Russian lad, Fyedka, an act for which her father considers her dead. Adding insult to injury is the edict from the Czar that the Jews are to leave Anatevka within three days, which they do, scattering to Israel, Chicago and New York to make new lives for themselves in new worlds.

Fiddler's success depends upon casting an actor who can pull off the role of Tevye; onstage for much of the time, he is the linchpin of the production. Parrish has found the quintessential actor for the part: Scott M. Jacoby who, with his beard and slight accent (of indeterminate origin) looks and sounds the part. Too, his world-weariness is palpable every time he sighs Oy or raises his fist to excoriate God for sending him tsuris (trouble) at every turn. Don't take umbrage; it is acceptable to Jews for him to argue with God; it comes from the behavior of the Hebrews upon being led out of Egypt during the Exodus and wandering around the Sinai desert for 40 years!

Jacoby sings and dances very well, and his comedic timing is spot on, which makes his monologues very funny and the dream he cooks up to get out of the marriage agreement hilarious. Best of all, he makes the role his own; we never get the feeling that he's channeling Zero Mostel, who originated the part.

Ruth Fouda's portrayal of his wife Golde is equally superb. She embodies the exasperation felt by a long-suffering spouse of a man who does pretty much as he likes; we are always aware she is the one who really rules the roost. Fouda and Jacoby are especially touching in their duet, "Do You Love Me," in which they attempt to sort out their feelings for each other.

Bridget Hoke's Tzeitel (right, with groom Alan VanAntwerp)) is sweet and shy; she and her beau Motel the Tailor (ably sung by Alan VanAntwerp who morphs from timid trembler to confident suitor)  exude radiance as they sing of the "Miracle of Miracles" that Tevye has agreed to their match. As Hodel, Stephanie Turci's voice is strong in "Now I Have Everything," which she sings with the magnificent Peter Ogrodnik as Perchik (both, below), and her farewell "Far from the Home I Love," as she departs to join him in Siberian exile brings tears to one's eye. Meghan Gehan may not have much to sing as Chava, but she performs a graceful and touching ballet as Tevye bemoans her loss.

Other standouts include Bob Sackstein as the rebuffed suitor Lazar Wolf, Sandra LaVigne as the late Grandma Tzeitel and Lisa Dean as the ghostly Fruma-Sara, the latter two in a riveting dream sequence. Roseanne Ruggiero is a splendid Yente, the Matchmaker, alternately kvetching and kvelling (complaining and beaming with pride) as she shares her great store of wisdom with anyone who will listen—or not (“Right? Of course, right,” she intones).

My only complaint (kvetch) with the production is the absence of a feeling of menace, especially in the tavern scene where the Cossacks interrupt the Jews' toasting to "L'Chaim." Michael Dundon's solo splits the festivities with a blast, but the rest of the Russian group seems to be joining the fun instead of spoiling it. And as the somewhat friendly Russian Constable, Don Gehan is too affable; he needs to deliver his lines with more authority.

Attire by Scaramouche Costumes befits the shtetl dwellers, Jews and Russians, as they cavort on a set designed by Steven Catron that utilizes the four corners and stage of the little playhouse. Ellen Fraker-Glasscock's lighting is especially effective for Tevye's monologues.

Fiddler on the Roof may tell the story of a lost world, but the universality of its themes makes it a favorite of audiences of all ages. It's hard not to tap your toes to the sprightly rhythms, remark that not much has changed vis à vis parent-child relations, and this in-the-round production makes you feel as though you are actually present in Anatevka. This is a not-to-be-missed production, but I suggest you call immediately so you don't miss out on tickets. And arrive a half-hour before curtain so you can get a good seat.

Fiddler on the Roof will be performed at the Black River Playhouse, at the corner of Grove and Maple Streets in Chester. For information and tickets, call the box office at 908.879.7304 or visit www.chestertheatregroup.org.