Review: FIDDLER ON THE ROOF at William County Performing Arts Center

At first glance, the original Broadway production of Fiddler on the Roof was doomed to fail. The show had out-of-town auditions in Detroit before opening in 1964. Since this was during a newspaper strike, the only review it got was a negative one from Variety. However, that didn’t stop the little musical from playing 3,242 performances on Broadway, winning the Tony for Best Musical, and earning multiple revivals and a film adaptation. It is now one of the most recognizable and successful musicals of all time. Sixty-two years later, Franklin Light Opera produced it at the Williamson County Performing Arts Center from September 18 to 20. This was the third-ever production of the show that I have seen, and it has impressed me the most. From the talented cast to the impressive staging, Franklin Light Opera’s Fiddler on the Roof is rich and timeless. 

Why did this particular production impress me more than the ones I had seen previously? I have been in several auditoriums, but this one had the smallest stage. What impressed me was how much Director John Schultz was able to cram into that tight space without causing a traffic jam. Granted, the stage is probably bigger than it looks from my seat. Still, it was somehow able to hold massive set pieces, more cast members than I can count, and Ashley Strella’s extensive choreography. I’m surprised that no one accidentally got smacked in the face with all that lack of elbow room. Sure, the actors walked through the audience to space themselves out, but that’s nowhere near as impressive as what they were able to do as a massive group onstage. As for the set itself, Nicolas Branson outdid himself with the moving set pieces and the attention to detail. I liked the added touch of the laundry hanging on the line overhead. Elevating the cramped-yet-cozy appearance are Elizabeth Steele’s clever lighting design, Claiomh Hogan’s extensive costume design, and Anna Conley’s prop work. Everything made the space feel like one big time capsule. 

I really need to take the time to shine a light on the music itself. Although Scott Brons is credited as the Music Director and the Conductor/Keys, the program says that the role of the latter was held by Eliot Hinsen for the matinee that I attended. With that being said, he did an excellent job. With a live orchestra off to the side, he guided his fellow musicians and the performers beautifully. His fellow musicians included David Weinstein on drums, Rebecca Dillon on drums, Max Dvorin on Reeds, and Sam Merrill on trumpet. Of course, I need to shine a special light on the Fiddler herself, Elizabeth Schenck. She brought charm and energy to the role both onstage and within the orchestra. The audience lit up whenever she appeared onstage. 

With such a massive cast, you’d think that everyone would have a higher chance of getting lost or overshadowed. Thankfully, everyone uplifts each other, giving them their individual moments whenever possible. Everyone just seemed like one big family up there, which I love to see. Now, since the cast is so massive, I can’t list every single cast member because then I’d have to split this review into three separate posts. Despite that, I want everyone to know that they did an excellent job as individuals and as an ensemble. Still, I will do what I’d normally do in a musical review and highlight a handful of ensemble members. I liked the duo of Howard Snyder (who was also the show’s dramaturg) as the Rabbi and Joel McReynolds as Mendel, the Rabbi’s son. Both of them were highly entertaining, and I couldn’t get enough of Joel’s facial expressions and exasperated delivery. The Constable is the type of character who would often be ignored, but Josh Hunter is charismatic enough that you’d actually want to pay attention to the character.  Vincent Davis is memorable as the Russian tenor, another character who you’d often ignore. Lazar Wolf is yet another character who isn’t meant to be entirely likable, but Brady Klosterman makes you feel a little bad for him. Lara Butler and Producer Karen Dumont only spend a single scene as Grandma Tzeitel and Fruma-Sarah respectively, but they made their short stage times count. Karen in particular had the crown cheering like there was no tomorrow. And of course, no memorable Fiddler on the Roof ensemble is complete without the iconic Yente. She was played by Audrey Kidd, and she took no prisoners with her comedy skills. No one in the audience could stop laughing.

This production of Fiddler on the Roof had two casts; the Sunrise cast and the Sunset cast. Six characters are double-cast, with the Sunrise cast performing for half of the performances and the Sunset cast performing for the other half. I attended the Sunday matinee, so I got to see the Sunset cast. Before I praise the cast that I got to see, I’d like to credit the Sunrise cast. This includes Chelsea Ranelle as Tzeitel, Anthony Ciarla as Motel, Scarlett Christopher as Hodel, Nate Yaras as Perchik, Lilah Edwards as Chava, and Cameron McLean as Fyedka. And now, onto the Sunset cast! Katherine Light and Peter Singletary were so lovely as Tzeitel and Motel. Not only were they so cute together as the young couple, but they were emotionally driven as they earned their right to be together. Maryn Quimby and Simon Dumont made an excellent team as Hodel and Perchik. It was fun to see them volley out of each other with their wit and sharp delivery. Even when they weren’t together, they had great chemistry with the other actors, particularly Joe Leavitt as Tevye. Chava and Fyedka are not easy characters to make stand out compared to the other young couples, but Sara Butler and Ryan Heinrichs pull off the task. Like the other couples, they have great chemistry that the audience felt right away. We know that it’s forbidden, but the actors make us want to see this happen, anyway. Ryan also manages to stand out in some of the dance numbers with his confidence and charm. As for Sara, she was just so likable from the beginning. However, the exact moment she won me over was near the end when she let out that gut-wrenching scream and fell to the ground. She absolutely sold it. Oh, and even though these two are part of the permanent cast, I would still like to use this moment to highlight Macy Shaffer and Ella Upshaw as the two youngest daughters, Shprintze and Bielke. Despite not having the biggest storylines out of everyone else in the family, they still sold the show with their cuteness and funny facial expressions. 

Last but not least, we come to the matriarch and patriarch of the iconic family from Fiddler on the Roof. Tara Jackson shines and stands her ground as Golde. She is just so loving, yet just as firm. She has amazing chemistry with everyone, even those playing non-family members. Even when she’s getting her ears talked off by Audrey Kidd’s Yente, she has excellent stage presence. She could stand against a wall and do nothing, and yet she would still have all of my attention. Of course, she serves as the perfect scene partner with her onstage husband. Even when they bicker, they’re so cute together. Speaking of which, Joe Leavitt is an absolute star as Tevye. He just has so much heart, humor, and personality as the Jewish milkman. Every joke landed perfectly, and he just gets along so well with everyone. His emotional deliveries are just as impactful as his comedic ones, and everyone lights up whenever he shows up with his cart. Tevye might not be a rich man, but Joe gives a rich performance of a lifetime.