Lincolnshire's 'Fiddler': A Must-See, With Quibbles

But, oh, the first act! After we realize that this "Fiddler" will demand we engage it on its own terms, the remarkable Rebecca Finnegan and the surprisely dowdy Paula Scrofano deliver the Yente-Golde scene about Tzeitl's marriage prospects with a honed comic sense and a character truthfulness that are a marvel to behold. Too bad Yente mostly vanishes after this point. Tevye and Golde's three eldest daughters, Tzeitl, Hodel and Chava, then deliver a very well-sung "Matchmaker," followed by Lehman's Tevye and his tour-de-force number, "If I Were A Rich Man." The song is impeccably performed, so real in its humor and character touches. Indeed, it is a microcosm of Lehman's entire performance, one of the reasons this production was mounted and one of its chief rewards. While smaller and perhaps older than some Tevyes have been, Lehman dominates the proceedings. You will not want to miss how he wrestles with God, with the Russian oppressors and with his own wife, all the while really wrestling with himself. It's pretty astonishing. 

"Sabbath Prayer" was merely the first time of several in the evening when my eyes started to well up. This number retains the magic it has had for three previous generations of theatergoers. "To Life" and the scene preceeding it gave us the quite noble Lazar Wolf of David Girolmo, and some lusty singing and dancing by pretty much the entire the male ensemble, which is what it is for. And then, buckle your seatbelts! The fierce actress Jessie Mueller may very well be turning in a world-class performance at Tzeitl here--I cannot imagine anyone else with her combination of voice, acting chops and sheer gutsy chutzpah in the role. Her scene with Lehman in which Tzeitl begs with her very life, for the ability to marry her childhood sweetheart instead of a wealthy man she doesn't love, rocketed the show into the stratosphere. This first chink in the wall of Tevye's world was shattering, followed by bittersweet joy. Again--you simply must see it. This scene was one of many in which the honest acting of the entire company--surely one of Bell's strong directorial points--was thrillingly realized. 

As that grown-up childhood sweetheart, Andrew Keltz was a fascinating mix of man and boy, not the nebbishy problem that other Motels sometimes fall into. (I wonder if Steppenwolf Theatre ensemble member and original Broadway cast Motel Austin Pendleton is going to see this production?) Second sister Hodel was beautifully embodied by the beautiful singer Dara Cameron, though her suitor, the student revolutionary Perchik, was the somewhat frumpily dressed Justin Berkobien--usually magnetic but certainly in good singing voice here. Third daughter Chava was portrayed with spunk by Laura Scheinbaum, excellent but a little young looking for the fine Fyedka of the handsome Patrick Sarb. 

The clean but certainly detailed costumes for the cast of twenty-three were by the dependable Nancy Missimi, with evocative lighting by Diane Ferry Williams and impeccable sound design by Robert E. Gilmartin. Patti Garwood ably conducted the eight-piece orchestra in the orchestral reductions of David Siegel, including fine woodwind work by Dominic Trumfio and Billy Rogers. And Doug Peck's musical direction was fine, of a score that is not as easy to teach or to learn as one might think--trust me on this one. 

So then, how to summarize? Certainly, anyone with an interest in musical theater should see this production. If you know "Fiddler," you will want to debate with others its departures from received tradition. If you don't know this essential work of the field, what are you waiting for? For a very moving and well-performed version of a show that will probably outlive organized religion as we know it, this "Fiddler On The Roof" is required viewing. Correction--it is required experiencing. Whether you are a parent or a child, a traditionalist or an iconoclast, you will not leave the sacred square in Lincolnshire unaffected. This show grapples with the eternal question--how to cope in the face of change? Adapt, or die out? Whether your current challenge is social networking websites, same-sex marriage or changing jobs for the new economy, the resilient souls of Anatevka have something to say you, I guarantee it. 

"Fiddler On The Roof" plays Wednesdays through Sundays at the Marriott Theatre in Lincolnshire, Illinois, now through April 25th. Call the box office at 847-634-0200 or visit www.MarriottTheatre.com for more information.

Photo credit: Peter Coombs and Marriott Theatre  

Photos: Ross Lehman and Paula Scrofano; Ross Lehman and David Girolmo; Jessie Mueller and Ross Lehman;  Justin Berkobien and Dara Cameron