‘Fiddler’ strikes just the right chord

Tom Titus

It’s been a few years since Tevye the impoverished dairyman pulled

his horseless milk cart through the muddied streets of Anatevka on a

local stage, but “Fiddler on the Roof” is back again in a full-bodied

production at the Huntington Beach Playhouse.

And the strengths of this landmark musical celebrating the faith

and determination of rural Jews in early 20th century Russia lie

where they might not necessarily be expected in a community theater

production -- in ensemble excellence. The weaknesses, such as they

are, are more of a technical nature.

Director Marla Gam-Hudson employs the combined talents of a large

and versatile cast to create some memorable moments in this highly

familiar musical. The nightmare sequence, the drunken celebration at

the inn and the wedding celebration bubble over with creative energy.

But, while the large scenic backdrops are moved on and off the

stage with dispatch, the primary setting -- Tevye’s cottage -- wavers

creakily and its doorway proves difficult to access. And some

screechy feedback from the Library Theater sound system often mars

some impressive stage performances.

The playhouse’s contingent of performers of varying ages, vocal

abilities and interpretive talents overcomes the technical

difficulties to present a moving and entertaining version of the

Joseph Stein-Jerry Bock-Sheldon Harnick musical, which for the most

part rests on the sturdy shoulders of Tim Nowicki in the central role

of Tevye.

Nowicki’s “humble dairyman” is anything but humble in this

particularly robust interpretation. The actor hits the stage with a

resounding crescendo and sustains this aura of domination throughout

the show -- which tends to amplify the effect of his rare quiet,

contemplative moments. It’s his fourth turn as Tevye and his fifth

“Fiddler,” so his comfort and confidence in the role is

understandable.

Grace Lynne as his perpetually nagging but ultimately loving wife,

Golde, provides the realistic antidote to Tevye’s frequent flights of

fancy, punctuating her performance with the cutting, deflating

observations that have become stereotypical of Jewish mothers over

the years. Carla Heller is a bright, animated Yente, the village

matchmaker.

The romances of the three eldest daughters of Tevye’s quintet

occupy much of the plot and serve to illustrate the chances

occurring, even in 1905 Russia. Liza Reitveld excels as the senior

daughter, Tzeitel, imploring her father not to marry her off to the

elderly butcher, while Kurt Jarrard has some fine moments as her

nervous tailor boyfriend -- their “Miracle of Miracles” duet is a

spirit-raising moment.

The show’s finest singing voice belongs to Blossom Benedict as the

second daughter, Hodel, and she has the interpretive talent to match

it. Brian McFadden -- who doubles with Todd Fuessel in the role of

her suitor, Perchik -- exhibits a confidence bordering on swaggering

as he challenges her mind and her heart.

Allison Eberly’s third daughter, Chava, and her swain, Fyedka,

played by Lance Ruhter, enjoy less of the spotlight, but strike the

deepest wound in her father’s heart. Mike Bower revels in the role of

the spurned butcher, Gary Severn is effective as the conflicted

constable, and Jeff Long is an ebullient innkeeper.

Veteran showman Joe Fletcher amplifies the tiny role of the town

rabbi. Sallie Coltrin is a suitably screechy Grandma Tzeitel from

beyond the grave, while Christiana Kooken also delivers a “haunting”

cameo as the spirit of Fruma Sarah, also from the afterworld. The

fiddler -- actually a fiddlerette -- is sprightly performed by

teenager Angela Montooth.

Musical director Bill Wolfe and choreographer Michael Lopez create

some of the show’s special moments -- the celebratory “To Life”

number in the tavern, the wedding punctuated by the tender “Sunrise,

Sunset” and, particularly, Tevye’s elaborate dream sequence.

“Fiddler on the Roof” is an ambitious undertaking for the

playhouse, and the enthusiasm of its ensemble provides a joyous

production.

* TOM TITUS reviews local theater for the Independent.