[NEohioPAL] Review of "Fiddler on the Roof" at Porthouse Theatre

[Bob Abelman]

Porthouse Theatre taps the essence, beauty of 'Fiddler on the Roof'  

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review will appear in the News-Herald on 8/9/13

 

 

The cast and crew at Porthouse Theatre have their work cut out for them.  

 

The musical "Fiddler on the Roof" by Joseph Stein (based on the stories of Sholem Aleichem) depicts the hardships of Jewish life in the fictional Russian village of Anatevka in 1905.  It is not easy getting an audience to buy into this world when presented in an outdoor amphitheater on the rolling bucolic hills of Cuyahoga Falls on a perfect summer evening in 2013.  

 

It doesn't help matters that the cast is about as Semitic as the nuns in last season's "The Sound of Music."  There are more fake beards in this production than in Ricky Martin's entourage.  Further complicating matters is Nolan O'Dell's sparse set design - a collection of fairly generic set pieces in front of merely functional sliding panels - which fails to establish a sense of time,  place or temperament.

 

Yet, from the opening strains of Jerry Bock and Sheldon Harnick's Tony Award-winning score - played sweetly on violin by Logan Schmucher as he strolls down the pavilion steps through the audience - the essence of this musical is tapped and its immense beauty is immediately revealed.

 

Still, the true acid test for any production of "Fiddler" is the musical number called "Tradition."  

 

This lengthy opening number revolves around Tevye, a poor dairyman, who is husband to Golde, father to five strong-willed daughters, and the show's narrator and featured character.  As he describes to us the day-to-day struggles of his family and the integrity of his faith's traditions amidst the threats of a modern world, the Anatevka community gathers and its members are introduced.  

 

This scene sets the tone for the rest of the production by establishing Tevye's humor, world view, and the skills of the actor (George Roth) portraying him.  Fail at this and the production fails.

 

This scene also tests the vision of the director (Eric van Baars) and abilities of the choreographer (John R. Crawford) by having them orchestrate the graceful entrance, rhythmic and highly coordinated intermingling, and stealth dissipation of the entire 32-member community.   Traffic problems can kill the scene, which will kill the production.

 

Essential cast members are introduced through a series of brief character studies.  Each player steps out of the throng and defines who he is and how she fits into this vibrant, collective whole.  First impressions are essential in getting an audience to care about these people for the next two hours.

 

In this Porthouse production, this opening number succeeds in every regard. It is, in fact, spectacular.  All the musical numbers are, due to a wonderful 11-piece orchestra under Jennifer Korecki's direction and a very talented cast of seasoned pros, disciplined musical theater majors from Kent State University, and assorted youngsters.  

 

George Roth offers us a thoroughly likable, absolutely engaging Tevye.  Though Jewish to the core, Roth's Tevye reveals universal truths about family and faith in such an accessible manner that he makes this musical appealing to all people of all generations.  His lust for life is infectious, which makes his dreams ("If I Were A Rich Man"), losses ("Chava Sequence") and emotional pain ("Anatevka") a shared experience.

 

At first, Tracee Patterson's depiction of the sharp-tongued Golde seems to be little more than a collection of clever acting choices when played against Roth's earthy Tevye and the organic portrayals turned in by Danielle Dorfman, Jessica Benson, Madeleine Drees, Olivia Roth and Sophie Longo as their children.  By the end of Act 1, these choices gel into something more authentic.  By Golde's touching "Do You Love Me" duet with Tevye in Act 2, Patterson owns the audience.

   

Remarkable musical moments are in no short supply in this production, but Benson's "Far From the Home I Love" - in which daughter Hodel explains to Tevye why she must follow her true love to Siberia -- is particularly moving.  Superb performances are also abundant, including Brady Miller as a wonderfully timid Hodel and the delightful Lissy Gulick as the town gossip and matchmaker, Yente.  

 

Crawford masterfully recreates Jerome Robbins' choreography from the original Broadway production.  The dance-driven confrontation between the Jews and Russians in "To Life" and the high-risk bottle dance during Tevye's oldest daughter's wedding are highlights.  

 

In short, "Fiddler" is a delight from start to finish.  It ends a rather spotty season at Porthouse Theatre on a high note.  Classic musical theater done well is what folks have come to expect here, and this production surpasses expectations.  

 

"Fiddler on the Roof" continues through August 11 at Porthouse Theatre, Cuyahoga Falls.  For tickets, $17 to $38, call 330-672-3884 or visit www.porthousetheatre.com.
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