Otterbein’s spring musical “Fiddler On The
Roof” is a delightful, joy-filled theatre spectacle featuring Department Chair,
John Stefano, as Tevye. Playing this role has long been a dream of
Stefano’s. He is obviously having a good
time with it. His energy and characterization are excellent. It doesn’t really
matter that Stefano stumbles over some of his lines. The memorable songs, stage
magic and great story telling trump any minor flaws. There
are many wonderful singing, dancing and acting moments with Stefano and an
outstanding student cast. I especially
enjoyed watching the playful back-and-forth energy between Stefano and Aubree
Tally who plays Tevye’s wife, Golde.
Based on “Tevye the Dairyman and His
Daughters” by Sholem Aleichem, “Fiddler On The Roof” tells a story about Jewish
life under imperial Russia in the early 1900’s.
The original musical, with book by Joseph Stein, lyrics by Sheldon
Harnick and music by Jerry Bock, first appeared on Broadway in 1964 and was one
of the first Broadway musicals to boast of over 3,000 performances. It won nine Tony awards and has had five
Broadway revivals plus a successful 1971 film adaptation. The show has been widely produced by high
school, college and community groups as well as professional and
semi-professional troupes. This is the third time that Otterbein has done the
show.
The show is energetic and well-paced. Director
Lenny Leibowitz captures the spirit of the piece, shaping the ensemble so that
individuals have their special moments; the light-hearted scenes such as
Tevye’s dream and the gossip sequence are given their comic due. But these events never detract from the main
story of Tevye, his family and what happens as they struggle with faith, tradition
and the realities of everyday life.
Music Director Lori Kay Harvey has assembled,
a full orchestra of capable players, which includes student and faculty musicians,
as well as members of the community.
Most
productions of this show have an actor on stage miming the fiddling while a
violinist in the orchestra pit actually does the playing. Putting Lane Champa
on stage, in costume, playing the Fiddler’s tunes with the aid of microphone
and audio technology from Sound Designer Arri Allen and her crew, brings an
added dimension. The overall balance of microphones and blending of sound is
the best I have ever experienced in the Cowan Hall space.
Stella Hiatt Kane’s choreography is crisp, well
executed and fun to watch.
T.J. Gerckens’ lighting design enhances
many beautiful stage pictures. “Sabbath Prayer”, the scene with Tvye and Hoddel
at the train station, and the dance of the sisters in the “Chava Sequence” are
among the more poignant and breathtaking moments.
The costumes by Julia Ferreri and Rob
Jonson’s scenic design are effective.
The set features the traditional Anatevka skyline and a raked stage. It works well with the props and lighting.
A full audience at Friday’s performance
clapped enthusiastically and seemed to enjoy every moment of the three-hour
production. The experience was made extra special by the outpouring of love and
admiration for Stefano as he prepares to retire after over 40 years of
teaching, directing and performing - – 24 of them at Otterbein.
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