Windward Community College's "Fiddler on the Roof" is the first big-scale musical to be staged in the beautiful new Pakilu Theatre -- and big-scale musicals are the ultimate test of any theater's suitability as a full-service performance space. That made "Fiddler" the crucial test for the facility, and it passed with almost perfect marks. Powerful ‘Fiddler’
inaugurates
new theater in style
"Fiddler on the Roof," presented by Windward Community College, 7:30 p.m. Thursdays through Saturdays and 4 p.m. Sundays through Dec. 15, except Thanksgiving Day. Tickets: $25. Call 235-7433.
By John Berger
jberger@starbulletin.comOne singer was close to inaudible during a key number on opening night, but other than that, the balance between the singers and the orchestra was excellent. The orchestra had a good full sound; the singers could be heard clearly and cleanly over the music.
That removed the only question mark regarding WCC's "Fiddler." With theater legend Ron Bright directing, several members of his family either onstage or in the orchestra, and longtime associate Lloyd S. Riford III handling lighting and set design, there was no doubt that this latest local revival of the Broadway favorite was in good hands.
In veteran Steve Wagenseller, director Bright has an excellent star for a powerful and thoroughly entertaining show. Wagenseller is superb as Tevye, the poor but devout Jewish dairyman who talks to God as he faces the challenges of everyday life and tries to make sense of the new attitudes and ideas percolating through Russia in the early 20th century.
It's a time of social upheaval. Small outbursts of organized violence are occasionally inflicted on the Jewish community in the village of Anatevka, and word has reached them that Jews elsewhere are being forced to leave their homes. Could that happen to the Jews of Anatevka?
Tevye faces challenges at home as well.
Generations of Jews in Anatevka had their marriage partners chosen for them by their parents and a matchmaker, and so Tevye and his wife, Golde, are happy to learn from their village matchmaker that well-to-do Lazar Wolf wants to marry Tzeitel, their oldest daughter. But Tzeitel refuses to marry Wolf. She wants to marry the man she loves, poor but ambitious Motel the tailor, instead.
Then second daughter Hodel tells her father that she's going to marry Perchik, a young revolutionary who found refuge in the village, whether he likes it or not -- but asks for his blessing. And third daughter Chava commits the ultimate sin when she sneaks out of the house and marries a Christian.
Wagenseller alone is worth the price of admission. "Fiddler" is Tevye's show, and Wagenseller proves well equipped to handle all facets of the role. He makes "If I Were a Rich Man" the stellar vehicle it should be, plays comic and poignant moments with equal skill, and negotiates each change of mood and emotion necessary.
Director Bright gives Wagenseller great support. Sharon Adair (Yente) is instantly annoying as the nosy and manipulative matchmaker. Tracy Yamamoto (Golde) is a commanding presence as Tevye's formidable wife; her duet with Wagenseller, "Do You Love Me?" is beautifully done. Glen Corlin (Lazar Wolf) does a great job as both actor and vocalist, delivering a fine performance as the hapless rejected suitor.
Ken Walter (Motel) distinguishes himself in the key scene in which the tongue-tied young tailor finds the courage to speak forcefully to Tevye. Give Walter credit as well for being one of the few men in the cast who took the trouble to grow a beard; the fake beards pasted on most of the other men are so bad, it's difficult to take the performers seriously.
Walter is nicely matched with Tiffany Thurston (Tzeitel) as the first of the three young couples who refuse to obey Jewish traditions. Keith Reagan (Perchik) gives a strong performance as the brash Jewish revolutionary from Kiev who shocks the Jews of Anatevka by saying that men and women should be able to dance together. Reagan has an excellent co-star in Jana Anguay (Hodel), whose interpretation of Tevye's rebellious second daughter effectively suggests a young woman's development from superficiality to adult emotions.
The interplay between Thurston, Anguay and Kathleen Hicks (Chava, the third daughter), coupled with Ry'n Sabado's choreography, made "Matchmaker" one of the most interesting and entertaining musical numbers that didn't include Wagenseller.
The imaginative use of the audio equipment made the brief appearance of Fruma-Sara (Jacqueline Grace), Lazar Wolf's deceased first wife, especially effective during a dream sequence.
There are a couple of minor flaws, to be sure. The tacky fake beards are one. The costumes worn by the "Russians" are another -- are these guys supposed to be Russian peasants or Cossacks or what? One celebrity in the house guessed "Mongolians."
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