[NEohioPAL]Berko reviews: FIDDLER (CAIN PARK); DIE FLEDERMAUS (LYRIC OPERA)

[Roy Berko]

FIDDLER ON THE ROOF AN AUDIENCE PLEASER AT CAIN PARK

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

September 22, 1964 is a significant date.  ‘FIDDLER ON
THE ROOF’ opened, and forever after, the term musical
comedy was changed.  With Fiddler’s emphasis on music
and dance sequences to extend and perfectly integrate
into the story, the art form moved into a new era. 
Without Fiddler there would have been no modern
concept musicals such as  ‘CABARET’, ‘COMPANY,’ or  ‘A
CHORUS LINE.’

Jerry Bock’s score, reeking of Jewish harmonies and
prayer-like intonations, and the sensitive lyrics of
Sheldon Harnick, resulted in a show that ran 3242
performances in its first Broadway showing.   They
proved that art, universality and popularity can all
come together.  
 
Based on the stories of Yiddish writer Sholom
Aleichem’s description of life in the shetels (small
villages) of eastern Europe, especially on "Tevye and
His Daughters," the musical has been staged in such
far reaching places as Japan and Argentina with equal
success.  Its major reason for success?  It has
emotional heart power.  Audiences come back again and
again to  "qvell"--a Yiddish word meaning to laugh and
cry with delight.

The original sets were modeled after the works of
Jewish Russian painter Marc Chagall.  One of his most
famous pieces pictures a fiddler on a roof.  It laid
the foundation for Harnick's’ opening musical
statement, "In our little village of Anatevka you
might say everyone of us is a fiddler on a roof,
trying to scratch out a pleasant, simple tune without
breaking our back." The story is a metaphoric history
of the Jewish people..traditions broken, violated and
changed.

There have been thousands of amateur and professional
productions of the show.  Some are good. Some,
especially the amateur versions, are bad.  Cain Park’s
rendition, based on the strong staging by Fred
Sternfeld, proficient musical direction by Larry
Hartzell, wonderful reproduction of the original
choreography by Eric van Baars, and Jeff Herrmann’s 
fine scenic and lighting designs, is one of the better
versions.

Tom Fulton makes Tevya his own.  This is not a Zero
Mostel or Topol imitation.  His Tevya is strong, yet
sensitive.  He plays for drama, and gets both laughs
and emotional responses.  His voice is strong, his
acting right on-key.  Sean Szaller is delightful as
Motel the Tailor.  Vocally and acting-wise he matches
with Kari Kandel, who portrays Tzeitel, the eldest
daughter.  Their "Miracle of Miracles" enchants. 
Jennifer Zappola gives a well-developed and musically
solid portrayal as Hodel.  Hannah DelMonte finely
engenders Shprintze, another of Tevya’s daughters,
with the right emotional highs and lows.  Elaine
Rembrandt has some nice moments as Yente, the
Matchmaker.  Unfortunately, Paula Duesing does not
give Tevya’s wife Golda enough emotional shadings. 
This is a one-dimensional characterization.  The same
can be said for Noah Budin’s Lazar Wolf, the Butcher. 
The men’s chorus is extremely strong as is the vocal
power and blending of the cast.  The dancing is
well-tuned.

The production is blessed with violinist Michael
Winer.  His playing enhanced the production.  The
mini-concert he performed at intermission was
outstanding.  Too bad some members of the audience
found their need for conversation more important than
listening to his music.

Wisely, director Sternfeld eliminated the often poorly
done accents, and was very sensitive to the religious
traditions that help make for an authentic portrayal.

The show’s highlights include the beautifully staged
"Sabbath Prayer," the creatively developed "The
Dream," and "Tradition," the opening number which lays
the foundation for the play.  

If you have never seen ‘FIDDLER ON THE ROOF,’ or if
you have seen it and want to renew acquaintances with
this wonderful story, go to Cain Park.  You will
experience one of the better amateur productions!  The
show runs through July 6 in the Evans outdoor covered
ampitheater.  For tickets and information call
216-371-3000.  Be sure to go early as there is no
parking lot so it is often a time-consuming task to
search the streets for a place to leave your car.

POORLY CONCEIVED ‘DIE FLEDERMAUS’ AT LYRIC OPERA

In the 1860s Parisian operettas were a tremendous
vogue in Vienna. The central figure in this movement
was Offenbach whose works delighted and provided
escapist entertainment.

Offenbach was succeeded by Johann Strauss, the
composer of the popular "Blue Danube" waltz.  Strauss
wrote fifteen operettas which included the
incomparable ‘DIE FLEDERMAUS.’  Strauss' association
with the dance band naturally resulted in his 
operettas containing the rhythms of the dance.  In
order for ‘DIE FLEDERMAUS.’ to be effective the
singing, the acting and the dancing must all be joyous
and proficient.    Unfortunately, under the stiff
direction of Jonathon Field, Lyric Opera Cleveland’s
production, is proficient in none of these.

As with all operettas, ‘DIE FLEDERMAUS’ is an
exaggeration of life.  Gabriel von Eisenstein has been
sentenced to prison for insulting an official.  Before
embarking on his sentence he attends a costume ball. 
He has lied to his wife about where he is going.  A
series of mistaken identities including the wife, the
parlor maid and numerous other characters leads to
some delightful incidents.  Well, they should be
delightful.  In this production, poor acting, poorly
executed dancing, and some moderately successful
singing, are the rule.

One of the traditional problems with Lyric Opera’s
productions has been the poor acoustics.  This has
been taken care of with the move to the wonderful
Drury Theatre in the Cleveland Play House complex. 
Other problems have been the often poor acting,
questionable casting and stilted staging of their
productions.  Unfortunately, as ‘DIE FLEDERMAUS’
proves, these conditions have not been altered.

The only real highlight of the show is a brief, but
joyously delicious pas de deux danced with
professional grace and spirit by Karen Gabay and
Raymond Rodriguez, formerly of the Cleveland-San Jose
Ballet Company.  (If you’d like to see them in
performance their company, Point of Departure will be
performing at Cain Park on July 31.)

Kudos go to Glen Cortese who has done a fine job with
the orchestra and Michael Grube whose set design is
attractive and functional.

Risa Renee Harman sang and acted the role of the maid
with delightful enthusiasm and has a fine singing
voice. Christian Elser, as von Eisenstein, displayed
nice vocal abilities but his characterization was
unconvincing.  Scott Guinn also has a nice singing
voice, but he was both physically wrong for the role
of Dr. Falke, and displayed shallow acting skills. 
Michael Bragg was totally unconvincing as the lawyer. 
Elizabeth Sutton’s portrayal of Ida was delightful. 
Leodigario B. del Rosario was difficult to understand
and was unconvincing as Alfred, the wife’s suitor.  
Terese Cullen’s portrayal of the wife lacked acting
texture.

A line in ‘DIE FLEDERMAUS’ states, "bribe only the
very best critics." Not even a bribe would have
brought this weak production a positive review." 

Lyric Opera’s next production is "BERLIN TO BROADWAY
WITH KURT WEILL." The production, under the direction
of Jacqi Loewy, will be staged July 9, 12, 17 and 20. 
For tickets 216-685-5976.


__________________________________
Do you Yahoo!?
SBC Yahoo! DSL - Now only $29.95 per month!
http://sbc.yahoo.com