Experiencing this wonderfully authentic but creatively and aesthetically pleasing musical has proven that this specific production has to be a theatrical triumph. Historically tearing even the heartiest musical theatre performer or fan, Fiddler on the Roof constantly divides opinions due to the divisive nature of its plot and the sometimes droll orchestral choices made to reflect the solemn tones. However, after digging deeper, it has come to light that this particular company has been given special permission to introduce some new choreography and orchestration to rejuvenate what had been a show known to be rather tired in use and frequency. Directed by the current Artistic Director of Chichester Festival Theatre, Daniel Evans, this adaption brought all the warmth and tradition written into the original version but with the innovative and expressive movement and vocals of a modern contemporary company.
Set in a thrust theatre, the basis of the scenery included a dull brown/grey stage and surround consisting of wood. Giving the snug, brown and inviting feeling were the lanterns and candles, which bar a few floods and spotlights, lit up the stage with authenticity. Interestingly the feature piece of the stage would be the revolving staging. This became a focal point as most of the ensuing dialogue and action took place on this section with principal roles, whilst the majority of the ensemble stood underneath the arch relentlessly making use of the very versatile set. The functionality of this set had come from the shrewd idea to use structurally strong and appropriate items such as suitcases, crates and milk churns. Also, the sheer frequency of suitcases used could also be assumed to be foreboding in the story told. Intertwined with intricate and beautiful sound from the orchestra, the transitioning was impeccable between scenes and seemed to have a distinct flow. The only unfortunate moment came as a brief break in character due to a couple of stage mishaps. This came in the shape of a bottle being thrown after the bottle dance and landing in the audience. This also was evident in the dropping of a corner of the canopy for the wedding, of which in both instances a sense of panic had been strewn on the actor's faces for a second or two.
The slight mishaps from the ensemble however were instantly put in the shadows by the enormously rich and generous sound they had created throughout all numbers. 'Anatevka' being the standout song on which this was most evident. Normally a rather damp song to end a musical on, a dynamic rousing chord finished the show leaving many audience members with visible goosebumps. Leading this marvellous company as a flamboyant 'Tevye' was Omid Djalili. Being a comedian by trade played to Omid's advantage as what he lacked in vocal prowess, he made up for in bundles by seizing every opportunity for a wink towards the audience that seemed to lap up his impeccable comedic timing. Not only was Omid predictably funny as 'Tevye', but also bought heavy gravitas to the role as a father and stalwart of the community. Another well-known face to screen and stage made an appearance in the form of Tracey Ann Oberman playing the stern but emotional 'Golde'. An astute localised accent reflected an understated but important performance of which she controlled the stage and attention with consummate profession. Again, thought not adorned with a hugely great voice, she used her spoken tone to wise effect, advising and mothering her daughters. 'Perchik' interpreted by the rather brave and bohemian acting Louis Maskell, gave a stellar turn in which his voice ran out crystal clear and his somewhat obtrusive nature to the village became a tale of endearing endeavours to change the lives of the people of Anatevka.
Abundant in stand out moments, arguably the greatest of all had to have been the dream sequence towards the end of Act 1. Offering a stark contrast to the traditional theme and warmth came a cameo of hair raising special effects. These included flames surrounding the whole stage, gravestones protruding from the stage floor and masterful prosthetic to dictate to the audience a lack of reality. Juxtaposing such a feat of visual extremity came a stunning visual at the end of Act 2. Coming towards the end of 'Anatevka', the cast retreated off the thrust to reach a climactic end to the show. As the full company had retreated a wall of rain started to fall filling the proscenium arch with a metaphorical barrier. Onto this 'wall' projected a slideshow of the current predicament such villages are facing with eviction and struggles against their religions in particular. Looking around, this induced a huge amount of sorrowful emotion which the audience had already shown in gasps, cackles and awe. Giving this perspective on such a traditional musical with all its seamlessly added additions, Daniel Evans and his team have managed to assemble a piece of which before had no particularly huge meaning and bring it to a modern audience through a familiar and artistic disguise. To this, Fiddler on the Roof has arguably been reborn in such a way audiences will relate and not only be entertained but leave the theatre in deep thought of the nights proceedings. Truly, a triumph of theatre.
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