My family and I are all conservative Jews and musical theater lovers. I grew up with the soundtrack of “Fiddler on the Roof” playing in the car and lines from the script woven throughout my conversations. My father has — on more than one occasion — broken out into song whenever someone uses the phrase “rich man.” When my brother and I bicker back and forth, my fed-up mother might mutter, “So, was it a horse or a mule?”
Thus, when I went to see “Fiddler” put on by the Theater and Music Departments, I had high expectations … all of which were met and surpassed at the matinee performance on Feb. 26. I’m not usually one for “rave reviews,” but this show left me with almost nothing to criticize and tons to praise.
“Fiddler on the Roof,” in my opinion, is a shining star among musicals. The characters are complex, the storyline both fast-paced and unpredictable and the dialogue moves deftly between hilarity and melancholy without missing a beat.
The immense onstage talent highlighted and enhanced the greatness of the script.
Funny lines were delivered with spot-on timing that had the audience cracking up, and the most dramatic scenes portrayed emotional intensity without ever sacrificing believability. Best of all, for me, was how obvious it was that the entire cast and crew had taken the time to truly understand the culture their performance depicted — both of 1905 Russia and of European Jewry.
As the lead, senior Anthony Blatter (Tevye) astonished the audience with his powerful voice and even more powerful command of the stage. His accent was consistently well-executed. The timing and rhythm during his songs were practically identical to the professional “Fiddler” soundtrack I know and love. Whether speaking, singing, dancing or just moving from one place to another on the stage, Blatter radiated complete investment in his role — and the audience could not help but become invested right alongside him.
Other standout stars included junior Aletha Bastin (Golde) and senior Sydney Hirsch (Yente), whose voices soared through challenging songs while their character development ran deep.
Junior Ariana Stein (Hodel) treated the audience to her impressive singing range and her onstage lover, junior Dominic Doray (Perchik), poured his soul into his performance.
Sophomore Samantha Seigel (Chava) attracted the watcher’s eye even during large group numbers with her dynamic and distinct movements and expressions, as well as conveying an impressive depth of emotion during her moments in the spotlight.
Similarly, senior Rebecca Velasquez (Nachum) brought comic relief through her wordless but emotive role of the beggar, drawing viewers to her facial expressions and allowing them to react to the action alongside of her.
Exemplary group numbers kept the audience enthralled, perfecting the emotional ebb and flow within each song, particularly in “Tradition,” “Sunrise, Sunset,” and “To Life.” The impressive bottle dance blew the audience away, as did the intertwining voices showcased in “Sabbath Prayer.”
The tech work shone just as brightly as the onstage stars. Junior Jonathan Scully’s work as master electrician added creative element of emotion and excitement to every scene. This brilliance was perhaps best exemplified by bright light shining through the door onto the kneeling Chava, emphasizing her isolation as she shut and she was left in darkness. From the dimmed light over the bittersweet wedding song to the iconic silhouetting of the Fiddler, the lighting delighted the viewer with its ingenuity and thoughtfulness.
Sound engineer junior Juliana South’s guiding hand was clear in the echoes that subtly distinguished Tevye’s thoughts as he stood alone in the spotlight with his fellow actors frozen in the background.
Wardrobe manager sophomore Sophia Macke and props manager junior Emily Gardunia should both be recognized for an array of items that seamlessly blended into the story’s time and place.
Speaking of setting, scenic artist Lauren Tubbe and her crew also ought to be commended on a set that was both beautiful and functional, with buildings that rolled to reveal a fully furnished interior and canopy lace that seemed to float down from the ceiling. Finally, I would be remiss if I failed to mention the gorgeous poster design by Hannah Klepper.
According to the department, on Friday, Feb. 24, all but two seats were sold out. I, for one, completely understand why.
