NoVA Showbiz

The Castaways Repertory Theatre Presents: Fiddler on the Roof

By Ashley Kinney

www.castawaystheatre.org

When asked to review Castaways Repertory Theatre’s production of “Fiddler on the Roof”, I couldn’t say no.  My father has commented throughout my life that he sometimes feels like Tevye, “blessed” with four daughters and no sons.  It seemed only natural that I had grown up with the film of this show.  Simply saying “Fiddler on the Roof” made the fiddle intro start playing in my head, and the imaginary Tevye that lives there walked out front and center of my brain and began “A fiddler on the roof.  Sounds crazy, no?” I eagerly found my seat.  Some ladies behind me were discussing what the show was going to be about, clearly new to the show, and they were terribly mispronouncing Anatevka.  This made me smile, because I love the thought that people were being exposed to “Fiddler” for the first time.  As for me, I was going home to Anatevka.
Anatevka wasn’t exactly the way I remembered it, but it was still home.  The minimal set made it seem somehow smaller and less defined, and some of the brighter costumes seemed out of place for a poor town, but the important elements of Anatevka were still there.  We still have the bottle dance at Tzeitel and Motel’s wedding, Yente is still arranging the matches (because, “Young people can’t decide these things for themselves, you know.”) and, most importantly, Tevye still wrestles with God over tolerance versus tradition.  It is this theme of tolerance versus tradition which makes “Fiddler” relevant today.  Our debates may not be over prayer shawls and men and women dancing together, but we still seem to struggle with how far we can deviate from past tradition.
“Fiddler on the Roof” is a very demanding show for the man playing Tevye.  Not only does he have the important job of narrator, and he has the most lines in the show, it falls to him to make sure that the audience understands just why the traditions of Anatevka are so important.  Jim Mitchell, a clearly seasoned performer with the resume to prove it, takes this responsibility with gusto.  He has the “Tevye eyes”, the incredulous and comic look as he is forced to accept that the world is changing, and some of his traditions may need adjusting.  Mitchell clearly relishes his comic moments, and his excellent projection and strong singing voice makes sure that the audience doesn’t miss a word he says.  My one regret was that this Tevye failed to do the traditional “Tevye shimmy” made famous by Zero Mostel during “If I Were a Rich Man.”
A standout performance is also given by Rebeca King as Hodel, Tevye’s second eldest daughter.  She delivers her somewhat sassy lines without becoming shrewish, has a natural stage presence, and gives a truly beautiful performance of “Far From the Home I Love.”  Clearly King’s time as a private vocal instructor has been well spent.
What is different about this version of “Fiddler on the Roof” is the audience interaction.  When Tevye gives his opening monologue, he delivers it while walking down the aisle, gesturing and speaking directly to the audience.  During the Sabbath prayer, Tevye and his family directly face the audience while the ensemble sings from the aisles.  This type of direction strives to make the audience feel like they too have grown up in Anatevka, so they should share in their celebrations and tragedies.  I believe this is why the audience so easily clapped along at Tzeitel and Motel’s wedding.  It was a very welcome deviation from my expectations.
What CRT’s production may lack in budget, it makes up for with the heart of its cast.  Many of the actors were clearly thrilled to be onstage, and you couldn’t help but smile at their enthusiasm.  The cast clearly enjoys the show, and the audience can’t help but reciprocate.
“Fiddler on the Roof” is playing for one more weekend, on May 17th, 18th, and 19th at 8 pm.  They perform at the Dr. A.J. Ferlazzo building in Woodbridge, Virginia.  For more information visit www.castawaystheatre.org.