"Fiddler" fine entertainment

Press, Volume CXIV, Issue 33628, 2 September 1974, Page 12

"Fiddler" fine entertainment

“Fiddler on the Roof.” Book by Joseph Stein, music by Jerry Bock, lyrics by Sheldon Hamick. Directed by Julie Blumsky for the Christchurch Operatic Society. Musical direction by Barrie R. Shakes. James Hay Theatre, August 31 to September 21. Running time: 8 p.m. to 10.50 p.m.

The immediate reaction of many will be to compare this production with overseas stage and fil: t versions. As this reviewer has seen

neither, that comparison is disposed of. A comparison that can be drawn, however, is the distinction between any amateur and professional production. The Christchurch Operatic Society’s “Fiddler” has much of the polish and competence of the farmer and yet brims with the sincere vitality of the amateurs’ nervous excitement in doing a major show. This is a very fine piece of entertainment; if developments during the first half of the opening performance are an indication, it will become exciting entertainment.

The story of the Jews of Anatevka, in Tsarist Russia, is told with a simple directness through the central character, Tevye. He tells of his troubles with his family, God, and others. The reason for the show’s popularity with today’s middle-aged parents soon becomes apparent: Tevye, too, is faced with a growing conflict between his traditional values and customs and the new idealism and personal conviction of his children’s generation. He has those qualities which allow him to accept changes without losing his own pride and identity.

As the Revolution rumbles towards the village, Tevye’s and Golde’s daughters, Tzeitel, Hodel, and Chava, find husbands in ways that become progressively more

alien to their community’s traditions. But Tevye is able, after some effort, to acknowledge the common factor of love in all their lives.

Finally, an official edict forces the entire community to disband. With characteristic acceptance, optimism, and determination, the Jews trudge off to seek new lives in other countries.

The attraction of the show lies in the narrative technique: Tevye is often alone on stage, or detached from the others in other scenes. The audience shares firsthand his warm and honest wit, his own brand of deci-sion-making, and his onesided discussions with God. It is in this characterisation that major overseas productions have achieved tame —• and it is here that the Operatic Society’s production finds its firmest foundation. Peter Simmonds achieves contact with his audience through his fine timing and gentle humanity. The character was firmly established early, the details sketched in, and the important transformations made in complete harmony with the action of the entire play. Only occasionally did the actor appear to be striving for an emotional reaction or to exert his stature. Vocally, Peter Simmonds was suitably impressive. A little tense, and therefore tight, when approaching the limits of his range in his first two songs, he soon overcame this to produce finely controlled singing and acting. His easy transition from clear natural speech to rich baritone singing was an important highlight which added much to the credibility of the characterisation and’ to the unity of the show.

This is not a virtuoso performance placing the rest of the cast in shadow. It is a fine example of how a talented lead singer can adapt his splendid attributes to the

needs of both character and show.

The other principals showed similar qualities. As Tevye’s wife, Shirley Rushton was equally strong. She was not as irascible as her husband’s lines would suggest, but this enabled her to become a loving matriarchal figure. It was a very sound performance. The three eldest daughters are important characters. As the eldest, Tzeitel, Dorothy Hart was, in spite of a complimentary programme note, rather forced and superficial. Her efforts in “Matchmaker” compensated a little, but she too often adopted strangely exaggerated movements and gestures. After an unpromising start, Patsy Baldwin made a very sensitive job of Hodel. In the most dramatically demanding role, this actress managed the transition from romanticism to resolution without the histrionics so often associated with this sort of role in musical comedy. Heather Mangin, perhaps because of her youth, was the most consistently convincing daughter. Her attraction to the Russian was delicately handled. Robert J. Naysmith created the best all-round performance of the show in Motel, the uneasy tailor who managed to become a man long enough to win Tzeitel. His one song, “Miracle of Miracles,” was so much in character and so strongly delivered as to remain one of the highlights of the show. Of the rest, Rob Shannon made an excellent impression as the radical student, Perchik; Deanna Briant came close to creating the bustling, busybody matchmaker; Kevin Knowles did well to show glimpses of a blustering butcher whose personality and build are so far from his own; and Nicholas Mcßryde was an effectively haunting Fiddler, always perched precariously in his contentment and joy. The supporting cast,

chorus, and ballet were neatly moulded into a unit. Both voice and movement showed the benefits-of close concentration. Rarely was the chorus to be faulted; there was no great fullness of tone but a richness, sincerity, and confidence that blended with the over-all mood of the production. The ballet was a little disappointing. The dancers excited the audience with some mildly energetic pieces, but one felt that the choreography lacked the freedom of the show as a whole. A finely executed bottle dance was an exception. The musical director, Barrie Shakes, must feel well pleased with his side of the production. The orchestra was sensitive to its accompanying role — there is little else in the score for it to impress with. The only element that grated was heavy-handedness on the side-drum.

Those already captivated by the well-known Jerry Bock music will be thoroughly satisfied with its handling in this production. “Tradition” is given appropriately simple treatment; “Matchmaker” had delightful movement and the singing was good enough to suggest that with more confidence it will become a show-stopper, “If I Were a Rich Man” will please most. ‘Far From the Home I Love’ is sung by Patsy Baldwin with beautiful sensitivity; and the whole company achieves a similar effect with “Anatevka.”

“Fiddler” is a demanding project for any group, not the least of the demands being a public already well fed on a “Fiddler” diet. They will not be disappointed. The project’s completion is obviously the result of a concerted group effort, but the essential qualities of the production stem directly from the director, Julie Blumsky. Her immaculate theatrical control, coupled with her vibrant sincerity, permeate the production. — W. H. L.