Director – Ray Jeffery
Fiddler on the Roof
– Fiddler on the Roof
Musical Director – Stuart Woolner
Performed at Civic
Theatre, Chelmsford, February 25, 2010
singing could not be faulted and
the large cast, split between Papas. Mamas, Sons and Daughters, created
wonderful wall of sound that seemed very natural, with perhaps less
amplification than usual. This allowed for an excellent balance between
and orchestra, which meant that the orchestra was not intrusive and
blended in. The movement of such a large cast was also good, with
Tradition and Sunrise Sunset
both being outstanding. The
principals were well cast for acting
age, compatibility and vocal skills. Tevye was superb with a resonant
that sang beautifully but which also had a rumbling ethnic
characterization was also excellent, providing a lightness of touch
generated plenty of humour but which also evoked enormous sadness. The
came through without undermining the sensitivity of the “engagement”
was most obvious after “The Dream”. The sadness at its extreme,
almost unanimous audience grab for the Kleenex, was Tevye’s rejection
When Chava was dragged along the ground by Tevye’s cart the emotion was
too much to bear.
not allow much comment on
the rest of the cast but Golde was a shrewish foil for Tevye and her
of Chava’s disappearance and Tevye’s rejection of her was extremely
of the three singing girls was strong and well cast as were their
Motel played the weedy tailor well and provided a strong contrast with
headstrong Perchik. Lazar Wolfe, Yente, Grandma Tzeitel and Fruma Sarah
completed a strong cast of major principals.
an excellent production
that succeeded on the strength of its cast and theunderlying story. Who
spectacle and stage trickery when the rest of the ingredients are in
Reviewer – Stewart
Fiddler's epic as magic as ever
03 October 2007
Operatic and Dramatic Society
CREAM OF THE CROP: Daryl Kane as Tevye the milkman
IT'S a perennial favourite
that's been filling theatres for decades.
And Ilford turned out in force for Woodford Operatic and Dramatic
Society's take on Fiddler on the Roof at the Kenneth More Theatre last
This production was blessed with a strong cast and the directing
talents of Bill Edwards, who wisely shied away from the
over-sentimentalising that has marred other local productions. Playing
it straight and honest really worked - the story still sparkles and the
pathos is very clear.
The scene is the small Russian village of Anatevka, the time 1905, as
the last Tsar of all the Russias ratchets up the terror.
Daryl Kane was a great choice for Tevye, the
wisecracking milkman who does daily verbal battles with his wife and
five daughters - in between berating God for his poor finances.
Since Tevye is the lynchpin of this piece, it is vital to have a strong
performer in the role and Daryl came up trumps - he made us believe he
was Tevye and he sang beautifully.
You know from the way your Tevye sings Tradition soon after curtain-up
how he will work out, and Daryl did a nicely judged version, not
relying too much on the more famous performances of people like Topol.
He made it his own.
Tevye's wife Golde was played with great charm and conviction by Bessie
Lewin, but occasionally I wanted Bessie to break free of her innate
English restraint, which sits uneasily with the towering personality
(and occasional rage) of a character like Golde.
But it was a very likeable performance, as were those of Kerrie
Game, Sasha Brenner and Sarah Prior as Tevye's older
daughters Tzeitel, Hodel and Chava. They were all charming and very
convincing in their roles and sang beautifully - Matchmaker, Matchmaker
was a nice example of their combined talents.
Dawn Young made an excellent Yente, the
matchmaker in question, and I enjoyed Terence Lovell's
trembling performance as Motel, the poor tailor who woos and wins
Callum McFadyen played the stridently
socialist incomer Perchik with equal helpings of anger and tenderness -
his scenes with the smitten Hodel were very touching.
Jason Markham was appropriately strident as
wealthy butcher and loser in love Lazar Wolf, and Malcolm Woodfield
made a splendid rabbi, doling out dollops of humour along with advice.
Martyn Stewart was good as Mendel and
Tony O'Connell and Robert Brown were good as Avrahm and
Nachum, while Ruth Freeman terrorised all and sundry as the
ghost of Fruma-Sarah, Lazar Wolf's late wife.
Great scenery from Paul Lazell and Scene Change Studios
enhanced the performance and Dave Palmer was responsible for
the subtly effective lighting.
- SUE LEEMAN (Ilford Recorder)
Dartford Amateur Operatic and
Fiddler on the Roof
|WONDERFUL: Daryl Kane as
ALTHOUGH If I Were a Rich Man is
Fiddler on the Roof's most famous song, the general tone of the musical
is far less exuberant and upbeat than that tune would suggest, writes
Written by Joseph Stein, with music and lyrics by Jerry Bock and
Sheldon Harnick, Fiddler recreates an uneasy period in early 19th
century Russia when peaceable Jewish communities were swept away by
pogroms in the wake of Tsar Alexander II's murder by alleged Jewish
The people of Anatevka are trying to survive in these volatile
conditions, led by dairyman Tevye whose amiable conversations with God
contrast with his henpecked relationship with his wife.
Tevye's attempts to uphold the traditions of his faith and culture are
challenged by his independently minded daughters: Tzeitel refuses her
pre-arranged marriage with a middle-aged butcher, Hodel falls in love
with a political activist and Chava elopes with a Russian soldier.
The story ends with a mixture of anxiety and optimism as the villagers
leave Anatevka to begin new lives elsewhere.
Performed at the Orchard Theatre by the Dartford Amateur Operatic and
Dramatic Society, Daryl Kane gave a wonderful
central performance as Tevye, instilling his character with equal
amounts of world-weariness and deprecating humour. His accent was
spot on and his singing note perfect.
Louise Hawkins, Amii Poole, Charlotte Hall, Katie Hutton and Darie Hall
were excellent as his daughters, while Julia Bull, as his
long-suffering wife Golde, displayed affection beneath the bluster,
most notably in the haunting Do You Love Me?
As shy tailor Motel, Nick Shread's voice was a little weak, but this
may have been due to the sound equipment. Matthew Kellett dominated the
stage as the belligerent activist Perchik, especially during his
vibrant rendition of Now I Have Everything.
It was a pity that the fiddler herself (Dawn Wood) didn't actually play
the instrument in question, but her presence was always poignant.
Directed by Elisa Horne, this was a visually impressive production with
backdrops reminiscent of Breugel.
The ending, with the cast walking slowly down through the audience and
onto the stage, was very powerful
Southend ODS – Fiddler
on the Roof – Nov. 2002
In a 1600 seater
theatre, it is difficult to present a show that creates atmosphere and
intimacy. But here, this is exactly what was achieved.
I was delighted to
record my view that this is probably the best show I have seen by this
The direction and the
choreography had been well conceived in the first instance but the
execution was equally impressive. The set, which I had not seen
before, was ideally suited for this stage (beware if you want it for
somewhere with less facilities) and the stage revolve added to the
presentation of it. It was bright and not the usual dingy colours
and the costumes too were most appropriate.
The characters were all
well rehearsed and Tevye was quite outstanding.
By mentioning him does
not, in any way, downgrade the others, who were all excellent in
support. The one minor criticism I would offer up was that the Jewish
missing. One has grown to accept that Tevye and Golde, and perhaps
some of the minor male characters, would attempt it. That was my only
minor disappointment however and may have been missing due to
The 18 piece orchestra
was loud enough to hear the musicians expertise but never overpowering
against the principals. That is no mean achievement in a theatre of
this size, notwithstanding voice amplification. This was a 'tradition'
to be proud of!
10 Rep, NODA East.