The Songs Shine in an Operatic FIDDLER ON THE ROOF
Union Avenue Opera kicks off its 32nd season with Fiddler on the Roof, the American musical classic with music and lyrics by Jerry Bock and Sheldon Harnick and book by Joseph Stein. While not quite a company tradition, its inclusion is a bit of a trend for the company, with popular musicals My Fair Lady and Ragtime also produced in recent seasons. Wrapped in gorgeous harmonies and soaring musicality, director Kasey Cox, conductor Scott Schoonover, and the talented cast deliver a compelling, emotionally grounded production with exceptional songs.
Tevye is a poor, hardworking milkman with a faithful disposition and keen wit, trying to take care of his family while wishing he were rich so he could spend his time studying scripture. His wife Golde and five daughters, three of whom are old enough to be married but have no dowry, manage the house and study while Tevye makes his deliveries. Just before Tevye arrives home for the Sabbath, Yente the matchmaker brings news to Golde that could see Tzeitel, the oldest daughter, married to the wealthy butcher Lazar Wolf, but Tzeitel’s heart already belongs to Motel. Tevye struggles with his commitment to tradition, emerging modern ideas that cast tradition in doubt, and his desire to see his daughters happy. The arrival of Perchik, a student with revolutionary ideas, increased attention from the Russian soldiers, rumors of pogroms in other cities, and the disruption of Tzeitel’s wedding celebration foreshadow the musical’s somber conclusion. As change unfolds around them, the community remains resolute in their faith and hopeful for comfort, peace, and reunion no matter what the future holds.
Photos courtesy of Union Avenue Opera
E. Scott Levin is gregarious and magnetic as Tevye, a devout man with an almost unconscious tendency towards self-reflection. Humble but opinionated, Levin adds rich, resonant vocals with elongated notes familiar to operagoers while still incorporating the laughter, shimmies, and inclusive asides to the audience that are hallmarks of the character. Kate Tombaugh is warm and engaging as Golde, though her voice is a bit weak at the edges of her range and occasionally hard to hear. Brianna Murray as the patiently resolved and wise Tzeitel, Vianca Alejandra as the intelligent, independent, and spirited Hodel, and Arielle Pedersen as the bookish and compassionate Chava are beguiling and sympathetic, with finely tuned voices. photos courtesy of Union Avenue OperaE. Scott Levin is gregarious and magnetic as Tevye, a devout man with an almost unconscious tendency towards self-reflection. Humble but opinionated, Levin adds rich, resonant vocals with elongated notes familiar to operagoers while still incorporating the laughter, shimmies, and inclusive asides to the audience that are hallmarks of the character. Kate Tombaugh is warm and engaging as Golde, though her voice is a bit weak at the edges of her range and occasionally hard to hear. Brianna Murray as the patiently resolved and wise Tzeitel, Vianca Alejandra as the intelligent, independent, and spirited Hodel, and Arielle Pedersen as the bookish and compassionate Chava are beguiling and sympathetic, with finely tuned voices.
The three daughters are complemented by Eric Botto as the effusively sincere Motel the tailor, John Tibbetts as Perchik the passionate student and revolutionary, and James Stevens as Fyedka the open-minded Russian soldier. Sophie Azra Yilmaz and Audrey Sondag add youthful charm as Tevye’s youngest daughters Shprintze and Bielke, and, as Yente, Amy Maude Helfer is an enthusiastic gossip with a penchant for complaining and matchmaking. Other notable performances include Spencer Reichmann as Lazar Wolf, although he and Cole Gutmann could use some instruction on blending their makeup, and Philip Touchette as Mordcha the innkeeper, Stephanie Tennill as the cheerful ghost of Grandma Tzeitel, and Gina Malone as Lazar Wolf’s deceased first wife, the gleefully jealous and possessive Fruma-Sarah. Hovering above them all, stoic and observant, is Collin Littlefield as the Fiddler.
Photos courtesy of Union Avenue Opera
Director Cox and choreographer Andrea Reed guide the cast with a clear vision of the story’s emotional, historical, and religious context while Schoonover confidently leads the orchestra through each number, adding texture that complements the performances. One of the primary differences between opera and a musical is the emphasis on the singing, and while the performers are dynamic and connected to the music, they’re often a bit flat and didactic with the dialogue. Every number is well balanced and imbued with nuance and intention, from the up tempo joy of “Matchmaker, Matchmaker,” “To Life,” and “Miracle of Miracles” to the more somber and reverent “Sabbath Prayer” and “Sunrise, Sunset” and from the humor of “If I Were a Rich Man,” “The Dream,” and “Do You Love Me” to the longing and tenderness of “Far From the Home I Love” and “Little Bird.”
Some opera purists may object to the inclusion of musicals in an opera company’s season; as someone more recently introduced to opera, I find the choice creates a welcome bridge from musical theater to opera and provides a new perspective on the show. There’s an emphasis on the songs and a heightened connection between the orchestra and singers that adds the operatic tone and timbre, while the familiarity of the musical structure remains. Suitable for all ages and vocally stunning, the Union Avenue Opera production of Fiddler on the Roof is compelling and well executed, offering opera and musical fans a chance to connect over a much-loved score.
