Breaking With Tradition

Fiddler on the Roof

These days, certain Broadway shows open and close so abruptly you’d never know they even existed. But back during the Golden Era of Musicals gems like “Fiddler on the Roof,” with a book adapted by Joseph Stein from the stories of Sholem Aleichem, and beautiful music by Jerry Bock with lyrics penned by Sheldon Harnick, set records for longevity. Opening in 1964, this multiple Tony Award-winning musical became the first show on Broadway to play over 3,000 performances. The popularity of this show inspired a 1971 film version, countless international productions, many national tours and several Broadway revivals. But director Elizabeth Margolius (who guided the Jeff Award-winning “London Road” at Shattered Globe) wraps up Drury Lane’s final production of its stellar 2023/2024 season with a dazzling new production that’s faithful to the original but also, ironically, breaking with tradition.

Audiences universally love this musical (as demonstrated by the reaction opening night). It’s a show about family, home and longstanding treasured beliefs. But, as popular as it is, some may think they’ve already seen enough productions of this musical to last the rest of their lives. People can be wrong. Ms. Margolius’ offering is quite a different interpretation of the script. It’s filled with many magnificent performances, backed by musical director Chris Sargent’s extraordinary pit orchestra. And the show is clearly a labor of love by everyone involved. But this production anything but flashy. It’s unembellished, stripped down to its basic story, with no props and very little in the way of scenery. It’s as if we’re reliving Tevye’s memories of Anatevka sheerly through his dreams. The story is mostly without color and very little scenery, told primarily in neutral grays and browns, and using a lot of stage fog. The memorable, close-knit Russian-Jewish community, simply trying to survive in turn-of-the-century Anatevka, is brought to life in a new and unusual production.

Choreographer Rommy Sandhu infuses this beloved 60-year-old classic with a new vision. The choreographer has totally reimagined Jerome Robbins’ original, familiar groundbreaking dances that everyone remembers. The opening “Prologue” no longer features choreographed groups of Papas, Mamas, Sons and Daughters circling the stage and singing about “Tradition.” The familiar “Matchmaker, Matchmaker” has very little movement for  Tevye’s three daughters and there’s no cavorting with mops. “Sabbath Prayer” is performed at a small table occupied only by Tevye’s family, Perchik and Motel. During the song, images of lit candles are projected everywhere to suggest the other villagers. 

The heartbreaking “Chavaleh” that’s usually a lovely ballet features only Tevye singing and Chava standing upstage in shadows, with images of her face projected on the set. And while the raucous “To Life” still celebrates Lazar Wolf’s upcoming marriage to Tevye’s eldest daughter, it’s a bit toned down. But sadly, the moment that’s most-missed comes during “The Wedding.” Gone is the traditional and iconic Bottle Dance, replaced in this production with an interesting number that involves gymnastic dance moves performed on chairs.

 The production’s beautiful score is sung with heart and soul by the 32 members of this dedicated cast. A very familiar face from so many excellent Chicagoland productions, the multitalented Mark David Kaplan leads the cast as Tevye. Lending his sublime vocal talents to a charming, modestly-played Papa and sage, the actor provides a somewhat different take on the role. Kaplan’s take on this iconic role is his own. He doesn’t try to imitate Zero Mostel, Chaim Topol or any of the many famous actors associated with the role. Mr. Kaplan simply radiates warmth, glowing as he recollects fond memories of life in the tiny, Russian village. And while his portrayal is unique, Mark’s humor and, sometimes his anger or frustration, create multiple rich character layers in this graceful, accomplished performance. 

Janna Cardia is a perfect Golde, Tevye’s slightly shrewish wife. I’ve never heard this role sung by such a classically-trained actress. So much beauty and just the right balance of warmth, humor and chutzpa make Ms. Cardia’s Golde a far more charming wife and mother than in other productions. The married couple share a beautiful moment in a uniquely sung and staged “Do You Love Me?” And, although lacking a bed or any special effects, “The Dream” is delivered with simplicity and a certain honesty.

The couple’s three eldest daughters, Tzeitel (lovely actress and singer Emma Rosenthal), Hodel (a brilliant, actress and singer, talented Yael Eden Chanukov) and Chava (a youthful singer/actress Abby Goldberg) do their stage parents proud and are equally superb and heartbreaking. Their “Matchmaker, Matchmaker” is charming and hummable, while Ms. Chanukov’s “Far From the Home I Love” is sung with heartbreaking honesty and remains, despite the sparse simplicity of this production, one of the show’s finest moments.

New to the Drury Lane stage, Michael Kurowski plays a whimsical, yet poignant Motel the Tailor that’s right on the money. His “Miracle of Miracles” is heartfelt, melodic and one of the moments in this new production that feels familiar. Handsome Zach Sorrow makes his auspicious Drury Lane debut as Perchik, beautifully singing the underrated “Now I Have Everything” and demonstrating his fine dancing skills during the “Wedding.” Creating a humane, empathetic Russian, boyish-looking Grant Kilian displays his impressive singing, acting and choreographic talents as Fyedka. 

Another actor making his first Drury Lane appearance, debonair Joel Gelman is appropriately blustery, quite funny and particularly melodic as Lazar Wolf, while Janet Ulrich Brooks is probably the best Yente I’ve ever seen. She makes the traditionally overbearing Matchmaker so realistic, funny and lovable that I wish her role was larger. Karl Hamilton is wonderful as the barkeep, Mordcha, who will offer his social services to anyone, for a fee. The always reliable Jeff Parker is properly austere and officious as the Constable. And Bill McGough as a humorous, befuddled Rabbi, Sam Shankman as Mendel, the Rabbi’s son, Dara Cameron as a quite human spirit of Fruma-Sarah and Susan Hofflander as a sweet, ghostly Grandma Tzeitel bring zest, humor and strong vocals to their cameo roles.

This simple, unadorned, and sparse version of one of Broadway’s most classic musical comedies, is now a new, uniquely imaginative production by visionary director Elizabeth Margolius. For theatergoers who think they know this show, Drury Lane’s stripped-down production is very different and should not be missed. It’s a reminder that everything old is often new again. The glory of Broadway’s Golden Era, brought to life by the bounty of talent, both on and offstage, that resides in Chicago, is profound. For audiences who’ve never seen this classic musical, here’s a chance to become familiar with the show, perhaps not as it was originally intended, but in a new, 21st century retelling. For audiences already familiar with Tevye the Milkman and his beautifully-told, heartbreaking story of survival, this production breaks with “Tradition” and offers some food for thought. 

Recommended

Reviewed by Colin Douglas

Presented January 24-March 24 by Drury Lane, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the Drury Lane box office, by calling 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.