The audience at the Golden Gate Theatre in San Francisco
overwhelmingly welcomed
”
Fiddler on the Roof
”
with Harvey Fierstein as the definitive Tevye with an excellent
cast. This wonderful piece of musical theatre is reincarnated with
exuberance and energy, and is a joy to watch.
The audience at the Golden Gate Theatre in San Francisco overwhelmingly welcomed “Fiddler on the Roof” with Harvey Fierstein as the definitive Tevye with an excellent cast. This wonderful piece of musical theatre is reincarnated with exuberance and energy, and is a joy to watch.
The winner of nine 1965 Tony Awards and the 1965 New York Drama Critics Circle Award for Best Musical, “Fiddler” comes to us with heartwarming honesty and innocence. Opening on Broadway Sept. 24, 1964, “Fiddler” is playing to a new generation and has been the ninth longest running show in Broadway musical history.
Fierstein excels as Tevye, the village milkman who talks with God on a best friend basis. He brings credibility to the part and he obviously loves playing this role. His timing in areas that could be so overdone are handled masterfully and carried off with believable class. Fierstein’s Tevye is a puckish and more diminutive rendition than his predecessors: Zero Mostel (on Broadway) and Topol (in the movie). There is always a little glint of sensitivity and joyful mischief that is Fierstein’s trademark in the role.
When I heard Fierstein had replaced Topol in this San Francisco production my first reaction was, “How is he going to handle the wonderful score?” Fierstein is known for his raspy voice that fit beautifully in “Hairspray” and many other shows he has successfully written and appeared in, but “Fiddler”? How? I was wrong. His rendition of “If I Were A Rich Man” and “Do You Love Me?” are as good as it gets. He articulates beautifully and shines in every scene. Though accompanied by a strong cast, Fierstein steals every scene. You never take your eyes off of him.
Joseph Stein based the play on a collection of stories by Sholom Aleichem called “Tevye’s Daughters.” A story about the trials of Tevye and his five daughters in a small Russian village. The threads of tradition, revolution, bigotry and love are woven into a charming story of survival. Tevye knows things are changing and he knows he must reluctantly change with the times. He does this with great difficulty and with intimate conversations with God.
The original Jerome Robbins’ choreography has been reproduced by award-winning director Sammy Dallas Bayes. His adaptation, originality and attention to the story are remarkable. His work is crisp and clean. He keeps the production moving at just the right pace and scenes appear to blend into one another, like a rainbow that keeps changing colors. His direction is detailed and sharp.
Music director and conductor David Andrews Rogers leads an orchestra that brings this production to the ultimate. The sets by Steve Gilliam, lighting by Ken Billington and Jason Kantrowitz, sound by Duncan Robert Edwards and costumes by Tony Ray Hicks are flawless. Without these people, when presenting a musical, you could have the best blockbuster and cast in the world and it wouldn’t mean a thing.
The music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein celebrate the true meaning of musical perfection. This is one show you will walk out humming one of many tunes that wrap around your brain and are instilled there forever. Who can forget the heartwarming “Sunrise Sunset” or the lusty “If I Were a Rich Man” that Fierstein makes his own, or the delectable “Do You Love Me?” No lyric is wasted, no note of music is squandered. Everything is in just the right place at all times.
“Fiddler on the Roof” brings tradition to the theatre and Fierstein has become a part of that tradition. Take the whole family for a joyous romp into this era of balancing like of fiddler on the roof and be entertained. Perhaps some children will leave the theatre with a gentle first step in a lesson in tolerance. This is a do-not-miss production.
***
‘Fiddler on the Roof’
Where: Golden Gate Theatre, 1 Taylor St., San Francisco
Through: Feb. 21
Details: (415) 512-7770 or visit www.shnsf.com.
‘Daddy Long Legs’
John Caird, famed as director of “Les Miserables”, adapted Jean Webster’s 1912 novel into a musical with Paul Gorden handling the music and lyrics. “Daddy Long Legs” is a story about an orphan whose education is sponsored by a benefactor who does not want to be involved or known other than a monthly letter of progress. Sounds like a cross between “Great Expectations” and “My Fair Lady” – except this plot is almost sweet enough to give one a sugar high.
The saving grace is the two performers who portray the two characters that unfold this tale through letters from the heroine to her undisclosed patron.
Megan McGinnis as Jerusha Abbott is delightful and charming and provides her character the spirit and magnetism that gives her performance life. She carries the show, sings beautifully and matures into a delightful young woman. Her benefactor Jervis Pendleton (Robert Adelman Hancock) does an admirable job supporting her with the frail plot line and forgettable score. Of course – predictably – all’s well that ends well with Jerusha captivating Jervis with her wit and innocent wisdom in her letters.
The enthralling performance of McGinnis is worth time spent with this presentation.
***
‘Daddy Long Legs’
Where: Mountain View Center for the Performing Arts, 500 Castro St., Mountain View
Through: Feb. 14
Details: (650) 463-1960 or visit www.theatreworks.org
