E Scott Levin as Tevye in Fiddler on the Roof at Union Avenue Opera. Photo by Dan Donovan Photography
Union Avenue Opera Company seems to follow a successful summer format: a popular musical opener with a light comic touch and plenty of chances to shine; a second show featuring a traditional romantic Italian opera, whether comedy or tragedy; and a third show that serves as a grand, sweeping biblical epic.
In comparison to last year’s season opener, My Fair Lady, this production of Fiddler on the Roof is a somewhat more somber affair, given the heavy themes of prejudice and patriarchy that the show tackles. Nevertheless, it proves to be a highly effective tragicomic operetta.
Fiddler on the Roof first premiered in 1964 and was an instant Tony-winning smash. It was adapted from the works of Sholem Aleichem, who wrote pastoral and poignant stories about Jews in Eastern Europe.
Fiddler takes place in a fictional Russian village named Anatevka; the year is 1905 and Russia is at war with itself. The government had established a boundary known as the “Pale of Settlement,” which forbade Jews from living in certain parts of the country and strictly segregated Jews and Gentiles. This was the first step in a process of dehumanization that eventually led to widespread, organized violence and terrorism against Jewish communities.
Instead of protecting their people or improving their standard of living, the Russian monarchy obsessively focused on mysticism and the continuation of their deeply inbred bloodline. The average peasant had a standard of living that was not much better than that of a serf in the Middle Ages. Jews made a convenient scapegoat for the Russian elite, and antisemitism and vodka provided a distraction for the working poor, until their anger finally boiled over into full-fledged revolution.
In this production, E. Scott Levin anchors the show as the put-upon milkman Tevye. Levin is a compelling, highly likable narrator with a rich, earthy baritone that feels entirely authentic to the character of a long-suffering but deeply loving father. Tevye’s frequent fourth-wall-breaking soliloquies, where he debates his plight with God, remain the heart of the show. It is a familiar theme in Jewish literature and theater—a faithful man grappling with the perceived persecution of his people and struggling to reconcile his faith with a harsh, often irrational world.
The conflict of the story centers on “Tradition,” which is also the title of the play’s folksy leitmotif. Tevye’s three eldest daughters—Tzeitel (Brianna Murray), Hodel (Vianca Alejandra), and Chava (Arielle Pedersen)—all challenge the status quo, turning away from the matchmaker Yente (Amy Maude Helfer, in a delightfully comic turn) to seek love on their own terms. The tension between Tzeitel’s desire for the poor but kind tailor Motel (Eric Botto) and the rigid expectations of the village is the pivot point of the first act.
Musically, the production is strong. The score by Jerry Bock—a masterwork of Broadway songwriting infused with klezmer rhythms and instrumentation—is handled with precision. John Tibbetts, as the revolutionary student Perchik, provides a vocal standout; his rich, resonant voice in “Now I Have Everything” adds a necessary spark of idealism to the proceedings.
While the singing was superb, the spoken dialogue occasionally felt less confident than the musical numbers. Furthermore, while the costumes were period-appropriate and visually striking, the staging occasionally felt crowded. Because the venue is small, the ensemble scenes sometimes lacked the space for the choreography to fully breathe, making the stage feel a bit cluttered rather than bustling with life.
However, the technical design was quite effective. The set utilized a network of wooden beams, upon which hung various pictures illustrating domestic life—a goat, a Torah, wine cups. It was a clever, simple design that allowed the village to feel like a ramshackle, temporary space. This choice paid off beautifully in the finale. As the villagers sang the mournful “Anatevka,” taking these small domestic symbols off-stage with them, the visual metaphor for the empty space left behind by a displaced people—forced from the only home they had ever known simply because of the circumstances of their birth—was devastatingly powerful.
Union Avenue Opera operates out of an old church building, which provides incredible acoustics but comes with unique challenges. The space can get quite stuffy on humid days, so dress lightly. The seating is tiered with a balcony, offering good views from almost anywhere, provided you aren’t sitting behind a pillar. Parking is limited, so arrive early… but do keep in mind that the staff is friendly and accommodating, especially for late arrivals and patrons with disabilities. One couple was able to buy tickets five minutes before the show started!
The venue was not originally designed as a theater, so it lacks a backstage area. The players enter and exit through the side doors—the same ones used by the audience. Union Avenue Opera company asks that you remain in your seat throughout the performance to avoid bumping into actors or blocking their path, and do not bring food or drinks into the theater. This could test the patience of young children, so families should plan ahead (and maybe text the babysitter).
Fiddler on the Roof closes its run this Saturday, July 11. The players will be back on July 24 for Donizetti’s classic comic opera L’elisir d’amore, followed by the Old Testament stylings of Samson and Delilah. If it matches last summer’s tale of temptation—the gothic, gory Salome—it will be a season to remember. | Rob Von Nordheim
