Review – Fiddler on the Roof, Festival Theatre, Chichester, 22nd July 2017

FIddler on the RoofSometimes you look at a theatre’s listings for the season ahead and a show stands out like a beacon of must-seeishness. I’d seen Fiddler on the Roof twice before; once with the late Dowager Mrs Chrisparkle in 1983 at the Apollo Victoria, starring the iconic Topol as Tevye, and once with Mrs Chrisparkle at the Royal and Derngate, Northampton, starring Paul Michael Glaser (and damn fine he was too.) Professor and Mrs Plum (who accompanied us on our Chichester weekend) advised us that they’d seen it on Broadway starring Harvey Fierstein. Gosh! I bet he was amazing.

Fiddler - everyoneI’m sure you know the background to this musical. It’s based on the stories of Sholem Aleichem about Tevye and his daughters published in 1894. The author was born in present-day Ukraine, and moved to New York City after witnessing the violence against Jews in southern Russia in 1905. The stories have inspired plays, TV programmes and movies over the years – but none so prominent as Fiddler on the Roof. Tevye is the village milkman, with his own philosophy of life that is heavily based on his deep but informal relationship with God, with whom he chats all the time. An upholder and adherent of Tradition, the musical shows you how Tevye copes having daughters who know their own mind and are not afraid to carve out their own way of life. Will he stick with the time-honoured traditions, or will he bend the rules to accommodate their wishes? And what chance does tradition have when it’s up against the outside world of the Czar’s Russia and the violent pogroms of the time?

TevyeSometimes at a show you get that feeling about ten minutes into it when you say to yourself “Wow, I am really loving this!” Gentle reader, I got that feeling. And once that happens you can just sit back and wallow in the pleasure of the whole thing. With all the traditional hallmarks of his Sheffield successes already chalked up, Daniel Evans’ first big show for Chichester – choreography by Alistair David, set design by Lez Brotherston, and a fantastic band courtesy of Tom Brady – is every bit as good as you could possibly dream it might be.

Sabbath PrayerThat’s not to say that in any way it shies away from the harshness of the reality of Tevye’s life and the village of Anatevka. If anything, this was the least saccharine portrayal of their day to day existence I’ve seen. The disruption to Tzeitel and Motel’s wedding celebration, for instance, stops you dead in your tracks with its mindless cruelty. When the villagers are informed that they will have to leave everything and go away, their desolation is palpable. But so much of the strength of the show comes from that balance of emotions between the sweet and the sour. The strongest moments (and songs) combine that hankering after something you just can’t have (If I were a Rich Man), and making the best of the here and now (To Life). Add to that the blind optimism of Matchmaker, Matchmaker and Miracle of Miracles plus the wistfulness of Do You Love Me and Sunrise, Sunset and you have one of the strongest scores in the history of musicals. Obvious, I know, but it occurred to me that, every time you hear Sunrise, Sunset, you’re just a little – significantly – older than the last time you heard it. My reaction to the stunning performance it receives in this production was to feel remarkably mortal. But when some aspect of a show pulls you up short and makes you question your own reality, you know theatre is doing its job properly.

Rabbinical questionsThe production is notable for some mind-boggling staging moments. The Fruma-Sarah dream sequence is extraordinary, with the spectral old biddy hovering large above the bed like a Jewish Sword of Damocles, the eerie presence of an army of demonic ghosts, and at one stage I thought the entire theatre was going to go up in flames! It’s a breathtakingly brilliant scene. Also stunning, but in a much more reflective way, was how the backstage opened up during the Sabbath Prayer so that you could see the other households in the village all following the same tradition; that was extremely effective and rather moving.

Matchmaker MatchmakerOf course, a huge part of the attraction for this particular production is the inspired casting of Omid Djalili as Tevye. He’s a very accomplished stand-up comic – we’ve loved him both times we’ve seen him – who involves uninhibited physicality as part of his humour. He was always going to be perfect in this role and boy does he not disappoint. From the moment you first see him, he’s got that glint in his eye that says we’ve gotta show to do and we’re all gonna have fun whilst never ever coming out of character or indeed turning Tevye into any kind of pantomime.

Mendel, Motel and the boysIn fact, for a larger-than-life comedian, it’s astounding how ordinary and normal he presents the character – which is great, because it’s so much easier for the audience to identify with him. He is a real man, with real problems but also a real sense of fun. As you would imagine, he absolutely made If I Were a Rich Man his own, and every time he comes on he lights up the stage. Make no mistake; when he disowns Chava for marrying the Christian Fyedka, his face is like thunder and his fury is undeniable – this is a man pushed to the limit and, much as it grieves him, he is determined to stand by his God rather than his daughter. This unfatherly reaction is uncomfortable for the audience. Apparently not every problem can be solved by a show tune. He is desperate to put the past behind them; and we can see him start to soften when he reminds Tzeitel to say “and God be with you” when she and Chava part; but he never gives in. Stubborn? Pious? Simply human? Tevye has complex emotions and beliefs which Mr Djalili explores and expresses magnificently.

GoldeThere’s also a tremendous performance by Tracy-Ann Oberman as Golde; funny, wry, spirited, bossy but essentially extremely kind-hearted, holding the household together whilst Tevye’s out working, or chewing the cud with God, or celebrating with Lazar Wolf. And of course she has a stunning voice that comes across so strongly, especially in the beautiful Sabbath Prayer sequence. Simbi Akande, Emma Kingston and Rose Shaloo make a great trio of daughters, presenting their father with challenge after challenge; they give us a fresh and funny Matchmaker, Matchmaker, and Emma Kingston’s Hodel sings a spine-tingling rendition of Far From the Home that I Love.

Motel and TzeitelI barely recognised the wonderful Liza Sadovy as Yente; as always, she gives the role a feisty and humorous characterisation. And I loved Jos Slovick’s Motel performing Miracle of Miracles – a couple of minutes of sheer reckless joy in what you sense is otherwise a fairly joyless life. Louis Maskell’s Perchik has just the right amount of confident and disdainful swagger to impress as the intellectual rebel without being a pain in the backside; and you just know that life is nevertheless going to teach him a thing or two as time goes on. And it was great to see Harry Francis again, as the rabbi’s son Mendel, brilliantly integrating outstandingly skilful dance moves into the big numbers.

Tevye takes them awayIt’s a huge cast, and everyone performs with absolute commitment and a sense of true enjoyment. It’s already been extended by a week, so the show now runs until 2nd September – but that’s surely not going to be the last we see of it? A credit to all involved. We all loved it.

Production photos by Johan Persson

Review – Alice in Wonderland, Royal, Northampton, 30th December 2011

Alice in WonderlandI heard once that the annual Christmas play in the Royal Theatre in Northampton is more entertaining than the traditional panto in the Derngate. So I thought we’d give it a try. This year (I mean last year) it was Alice in Wonderland. So, surrounded by in-laws and nieces we descended the foyer staircase into Wonderland.

They’ve done an excellent job in transporting the usual Royal bar area into a fantasy land where you might meet a white rabbit or a mad hatter, have your photo taken as the Queen of Hearts, and enjoy your interval drinks and ice creams at fancy laid out tables or even reclining in a harem tent (perhaps not quite the traditional Wonderland fantasy, but I’ll go along with it!) The nieces enjoyed their chat with the Mock Turtle and Dodo, and I’ll admit it, so did I. I’m such a groupie.

Anyway there was consternation in the auditorium because they had lost Alice! Whilst they were working out where she might be, we had a choice of costumes for her to wear. I went for the sleazy red dress but the audience was disappointingly predictable in the choice of classic Tenniel blue frock. The Mad Hatter was posing for photos at the front of the stage while the Queen of Hearts was knitting from the Royal Box.

Liza SadovyYou might by now realise this is not the traditional recounting of the Alice story. It is instead a hugely fun adaptation which takes all the main elements of the original and creates a totally new tale – that of providing amusement for the Queen of Hearts as part of her birthday celebration. All the characters are required to do their turn, including an initially grumpy and unwilling Alice plucked from the auditorium, or else it’s off with their heads. I guess if you were expecting the standard story, you could be a bit disappointed; but the cast and script are so bubbly and entertaining that you shouldn’t feel glum for long.

Mark McGeeIt’s co-directed by Dani Parr and Laurie Sansom, Northampton’s own Artistic Director. I don’t how the work was shared, but this production has the classic Sansom stamp – a terrific ensemble feel. The actors are so comfortable with each other, interacting seamlessly with each other, tacitly encouraging each other to give of their best. I don’t know how he does it. He must run a great workshop.

Ryan EarlyLiza Sadovy is the Queen of Hearts, a pushy cow who cheats at croquet, who would frame her own son just for the bloodlust of it, but also has a twinkle in her eye that encouraged me (at least) to vote him guilty – it was the promise of a go in her swimming pool that did it. She’s perfectly cast, has great interaction with the audience and clearly has a wonderful time doing it.

Adam BaxterMore favoured by Mrs Chrisparkle and the other ladies of our set, was the roguish charm of Mark McGee’s Mad Hatter, who acts as an everyman-type narrator guiding us through the madness, and whose attraction for the Queen is clearly more than you would expect from your average milliner. He commands the stage with a big show number in the court where he dons a gold glittery suit and top hat straight out of A Chorus Line finale. I covet it. I also loved his and the March Hare’s (Ryan Early) surreal Table of Delights, an almost torturous tea-party where Alice constantly misses out on the victuals. Mr Early also gave a very nice turn as a hard-nosed theatrical agent. Good stuff.

Ngozi UgohAnother favourite was Adam Baxter as Little Bill the heroic lizard, whose speech of tragic bravery after he had been shot out of the caravan (don’t ask) had me guffawing embarrassingly loudly. He did all the physical comedy really well. And Ngozi Ugoh as Dodo Sminkypuffs and the Cheshire Cat gives another excellently spirited performance. We all thought she was great and could be Someone To Watch In The Future. But all the cast were highly entertaining and no one gave anything but a great performance.

Where else might you be required to shout “Pig Baby!” at the top of your voice, whilst chucking numerous of the said babies on to the stage, or get hit by stuffed hedgehogs propelled by flamingo croquet mallets. “First address your hedgehog – Hello hedgehog!” is already ensconced as part of the Chrisparkle family repartee. All this plus the unexpected arrival of the jam tarts! It’s full of colour, entertaining props, funny songs, memorable lines and we all loved it from start to finish.