Review: 'Fiddler on the Roof' in tune at Wheaton Drama

The musical “Fiddler on the Roof” is rarely on hiatus; it is a popular staple of community theaters, schools and national tours everywhere. (And “Miracles of Miracles,” another national tour, is set to launch in the fall of 2018). Perhaps the universal themes of family, love, tradition and prejudice speaks to all generations and all cultures insuring the musical’s enduring popularity.

Set in the village of Anatevka during the Pale of Settlement of Imperial Russia in 1905, and based on the tales of Sholem Aleicheim (“the Jewish Mark Twain”), “Fiddler” premiered on Broadway in 1964. It held the longest-running Broadway show record for 10 years until “Grease” surpassed its run; “Fiddler” also was the recipient of nine Tonys. It probably is safe to say we’re all familiar with Jerry Bock’s music and Sheldon Harnick’s lyrics. We all can sing “Fiddler’s” most beloved songs – “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker” and “Do You Love Me?” – just to mention a few. The book by playwright Joseph Stein relays the story of milkman Tevye, the father of five daughters, who questions and struggles to uphold tradition.

Director Carrie Dabelow has done an exquisite job with Wheaton Drama’s production of “Fiddler on the Roof.” Clearly evident are her attention to character development and detail – quite a feat with a cast of 34 and a run time of nearly 3 hours. Dabelow has cast well, utilizes the set well, and keeps the pace energetic. She illustrates well the underlying theme of the changes brought by the younger generation while the older generation clings to tradition and the delicate balance between the two. The set, designed by Don Dumper, is minimalistic but rustic and very suggestive of an impoverished village. (Nice touch with the bird nest in the eaves by the way). And the lighting designed by Jim Van De Velde subtly enhances and complements both the set and ensemble.

Barry Norton, as Tevye, is an infectious, endearing and precisely believable actor. From the get go, Norton engages you in Tevye’s conversations with God (“on the other hand”); he’ll rip your heart out when he must let Hodel go to Siberia, and when he rejects Chava’s match (“if I bend that far, I will break!”) and he’ll just make you laugh out loud when he debates and schemes how’s he going to tell his long suffering wife, Golde, (“what am I going to tell your mother?”) about changes in wedding plans. Golde is sharply, lovingly and wittily played by Mary Barrett; the chemistry between Norton and Barrett is undeniable. They are both delights!

Three other actors make their marks: the tall and elegantly expressive Robert Hussey playing the tailor Motel, Emma Lee as daughter Hodel (can that girl sing!), and the truly gifted soaring dancer Justin Lee as Fyedka, the Russian soldier.

There are many outstanding moments in this production of “Fiddler,” thanks to a strong ensemble and choreographer Tori Marie Cahn. The most captivating are the Dream sequence featuring Emily Rodan and Paula Rada, a deliciously hilarious knockout (watch Norton’s facials!) of a scene, the three amazing Russian dancers in “To Life” (Cooper Meek, Justin Lee and Tess Denault), and the very haunting ending for Anatevka.

I do have some concerns, however, a few that can be eremedied easily and quickly in the three weeks that remain. Why shiny, out-of-the-box, white floral china for Tevye’s household?

The china is distractingly too modern and glaringly too new for an impoverished milkman in a Russian village. Why is Yente sporting a sleek, smooth vinyl floral piece of luggage with the designer label clearly evident? Where is the worn cloth carpet bag befitting her years of matchmaking in a Russian village? And, furthermore, why is Yente wearing a checked gingham skirt when everyone else is in muted, dark colors? There is another obvious costume faux pax: why are the village men wearing modern black raincoats? Coupling them with fedoras for the bottle dance garnered an audience comment that they looked like “1940s dancing private eyes.”

But for me, as a reviewer and live theater audience member, the most glaring dismay is the use of pre-recorded music for this production. Disappointingly, there is no orchestra, no live musicians, except for one – the underutilized violinist Alan Chen, the fiddler on the roof. A live orchestra affords the opportunity to meet varying pitches and strengths of the performers, to extend music to cover scene changes, to wait for an actor to finish their lines, etc. Recorded music diminishes spontaneity and lacks nuances and emotionality. To Music Director Alex Buda’s credit, the village ensemble sounds glorious with the “Tradition” and “Anatevka” tracks, but, sadly, with some of the solos, the actors who had to fit their vocal ranges to the recorded music weren’t always successful.

Perhaps “Fiddler on the Roof” is a metaphor for survival in a life of uncertainty. In Dabelow’s production it’s beautifully a story of transition and a father’s love – a universal tale of poignancy and relevance always worth experiencing.

• Regina Belt-Daniels is a working actress and director who began her career onstage in 1985 at the Woodstock Opera House. Formerly serving on the Raue Center for the Arts Board, she is a lifetime member of TownSquare Players and a retired District 47 teacher.

“FIDDLER ON THE ROOF”

WHEN: Through Oct. 8

WHERE: Playhouse 111, 111 N Hale, Wheaton

COST & INFO: Presented by Wheaton Drama. Two acts, 15-minute intermissions. Tickets: $23. Tickets and information: 630-260-1820.