“Fiddler on the Roof,” at the National Theatre, has the most respectable of pedigrees. Inspired by stories by Sholom Aleichem, which became the basis for the book written by Joseph Stein, the musical has music by Jerry Bock, lyrics by Sheldon Harnick and its original 1964 Broadway production was directed and choreographed by Jerome Robbins.
“Fiddler on the Roof”
Where: National Theatre, 1321 Pennsylvania Ave. NW
When: 7:30 p.m. Tuesday-Thursday; 8 p.m. Friday and Saturday; 2 p.m. Saturday; 1 and 6:30 p.m. Sunday; through May 2
Info: $51.50 and up; 800-447-7400; nationaltheatre.org
The National Theatre version, which is directed by Sammy Dallas Bayes, can be said to be following in the tradition of the original, in that Bayes, who studied with Robbins, has “reproduced” Robbins’ choreography for this show. The result is an energetic, neatly detailed, beautifully realized production.
The genius of “Fiddler on the Roof” derives from the fact that it creates an archetype, Teyve, who begins his story as a poor but proud man living in a shtetl in Russia in 1905. Little by little, Tevye loses family, friends, home, traditions — yet the essential man survives.
Watching Tevye cope with his life transformations makes “Fiddler” intriguing, but what makes it compelling are the Harnick/Bock lyrics and music: the lilting “Sunrise, Sunset,” the rousing “To Life,” the moving “Anatevka,” the plaintive “Do You Love Me?” In this production, some of the lesser-known numbers are the most effective: “Sabbeth Prayer,” “Now I Have Everything” and “Far From the Home I Love.”
The cast for this production is top-notch, although Harvey Fierstein makes an odd acting choice as Tevye, deviating from his archetypal hero with a considerable amount of mugging and clowning. The character of Tevye is naturally funny, in his arguments with his wife and his comments to God. He doesn’t need extra stage business to make him lovable. Fierstein is very taking in the moments when he plays Tevye seriously. In fact, Fierstein’s ability to convey this poor, long-suffering milkman sincerely, in so many moving, soulful moments, is a major factor in the production’s success.
Susan Cella is superb as Teyve’s patient, sardonic wife. Tevye’s three oldest daughters, Tzeitel (Kaitlin Stilwell), Hodel (Jamie Davis) and Chava (Deborah Grausman) make clear both their love for their father and for their “untraditional” boyfriends. Colby Foytik is affecting as Perchik, the student who introduces fresh ideas. Motel is a nervous young tailor; Zal Owen nicely illustrates his high anxiety. Matthew Marks is charming as the young Russian who captures Hodel’s heart.
David Brummel, Mary Stout, Stephen Lee Anderson and Hannah Delmonte are all essential players in this large, tightly knit ensemble. Richard Gatta, Scott Leiendecker, Rick Pessagno and Matthew Rossoff are sensational in the bottle dance.
Tony Ray Hicks’ costumes contain a range of gentle color and style, from the simple peasant clothes worn most days to the elegant outfits of the marriage scene. The set by Steve Gilliam includes various places: the humble interior of Tevye’s home; its exterior; a railroad station; a tailor shop. Gilliam creates a slightly abstract but vivid sense of what it may have felt like to be alive in Tevye’s world.
With its blend of robust sentiments and its memorable music and lyrics, “Fiddler on the Roof” will never be dated. Even though it takes some liberties with Tevye’s character, this production is proof that, when dealing with a legend, you can push the boundaries if you must. The legend will still survive.
