By Joel Applegate
I’ve got a soft spot in my heart for the old Fiddler. Fiddler on the Roof has always been one of my favorite musicals because of its realism (within the milieu), its soaring score and a storyline that’s still important for all to know. At least two of the hit songs remain popular: “Sunrise, Sunset” and “If I Were a Rich Man.”
Springville Playhouse’s cast was clearly committed to having fun. A couple of technical glitches with mics off when they should have been on didn’t spoil the fun too much. That great opening number, “Tradition,” boasted a chorus that sounded full and in tune.
Our patriarch of the show, Tevye, played by Karl Young, sets up the scene – and his dilemma: a surfeit of marriageable daughters – and a wife who has come to see him as all too laconic and unserious.
Young looks the part, bringing to this iconic character the rolling eye and the shrugging shoulder that audiences who love Tevye have come to expect. Young has a nice voice, which is smooth but not booming. My preference would have been to see him use his voice throughout in a more robust manner. That may have helped, too, with the timing of some of his jokes that didn’t quite sell. Young’s Tevye has a relaxed approach to his Maker, whom he brings into the conversation often, and great chemistry with Golde, his wife played by Robinne Booth, who does double duty as the director of this production. Booth played big with her role, ladling on a nice touch of the sardonic – just what we’ve come to recognize in this loveable character over the years.
The show really got off the ground with its second song, “Matchmaker,” sung by Tevye’s three eldest daughters: Joni Newman as Tzeitel, Amber Lee Roberts as Hodel, and Elizabeth Bird/Michelle Squire (it is double cast) as Chava. All three of these women were well cast, bringing pleasant voices and harmonies to our ears. Newman hits the right emotional pitch in the critical scene when she pleads with Tevye to allow her to marry whom she loves. I could directly feel her energy. Roberts brought a smile to my face with her clear, clean melodic voice. And her Hodel had a lightness supporting her dialogue and complimenting her spirit. Bird/Squire had one of the more pleasant voices in the cast with a tone round and sweet.
Let’s talk about guys, man. Hodel’s squeeze, Nate Warenski in the person of Perchik was well-connected to what he was doing. His lively energy gave him a natural cadence. As Motel, Gregory Duffin was fun to watch, wooing his Tzeitel in tailored befuddlement. Bryan Cardoza as the Constable was as authoritative as he needed to be, sporting a pretty darn decent Russian accent.
Fiddler on the Roof is a long show, even by mid-20th century musical standards. That’s why I wanted to briefly mention the one overall adjustment I would apply to the whole production, and that is the all-important pacing. The tempo needed to be ramped up considerably in all the musical numbers, especially “If I Were a Rich Man,” and including even the quieter pieces, such as “Evening Prayer.” In the scenes where dialogue is critical to moving the story forward, cues weren’t picked up and actors took too much time, with the result that some jokes didn’t land. In Fiddler, we have some of the musical theater’s best snappy writing here that didn’t get its due. These gaps can kill the moment. Though I was watching invested performances, I felt this show took too much time to tell the story.
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Especially for a small troupe with limited resources, the production values here really look good. Great job by the set and costume crews – too many to name here (the actual designers are not credited in the program.) The very nicely detailed set fills up the small proscenium stage. Kudos to the costumers who achieved authentic looks all around – especially with the slightly whimsical accent they gave to the character of the matchmaker, Yente, played by Karen Amsden. The staging of Gramma Tzeitel’s dream sequence filled the stage and was delightful to look at. Connie Jackson Warenski as Fruma Sarah bedecked in ridiculous pearls haunted the scene frightfully in that way that makes it fun to be scared.
I learned something I didn’t know before about Springville Playhouse. After losing their previous venue, they are now being generously housed at the recently built Merit College Prep Academy. This company has a legacy. According to our host for the evening, Kathy Llewellyn, Springville Playhouse is the longest running community theater in Utah County, established in 1947. By that effort alone, they deserve your support. I’ve always loved Fiddler on the Roof for its very tuneful melodies and the glimpse of real history it gives to the audience. Accordingly, sight and sound are the outstanding strengths of Springville Playhouse’s production of Fiddler.
Note: Because this is a long production, I would recommend not bringing children under 10 or 11 years old unless they are serious musical theater fans.
Springville Playhouse at Merit Academy, 1440 West Center St, Springville, Utah
Friday, Saturday and Monday at 7:30 pm, June 6th through the 28th, 2014
Box Office: 888-799-7469
Tickets are $8 per person, $7 for students and seniors, and a family pass can be purchased for $40.
http://www.springvilleplayhouse.org/
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