Review: 'Fiddler on the Roof'
Sun sets on season as 'tradition' finally finds its way to JET
If there are two things in the world that would seem to be a perfect match, it would be the Jewish Ensemble Theater Company and the musical "Fiddler on the Roof." However, in its 15 years of existence, JET has never staged a musical, let alone the ever-popular production based on the stories of Sholom Aleichem.
It's not that the troupe has an aversion to the genre; rather, the limitations of its performance space always proved to be a stumbling block.
But after seeing how Ann Arbor's Performance Network re-imagined its hit production of "Man of La Mancha" last season, JET Artistic Director Evelyn Orbach is rumored to have excitedly returned to West Bloomfield as if on a mission from the Almighty himself. Not only would JET stage its first musical in 2004, it would be its most oft-requested production.
Fast-forward a year, and Orbach's risky decision seems to have paid off; the opening night performance was definitely an audience-pleaser!
But with a cast of more than 20, can it also be a financial success?
Its plot is one that has entertained audiences since "Fiddler on the Roof" made its debut in 1964.
The year is 1905, the eve of the Russian Revolution, and the time-frozen residents of tiny Anatevka are about to experience great social change. But first, Tevye, the town's milkman, must struggle to preserve the Jewish traditions handed down from previous generations, much to the chagrin of his three lovely daughters. Each wishes to get married, but not in the traditional ways.
Should he blindly adhere to the ways of the past? Or should he follow his fatherly instincts?
It is apparent from the opening moments of the show that Director Gillian Eaton has had to jettison certain traditions – an important aspect of the show – in order to fit her production within the confines of the stage – and probably to match the skill sets of her actors, as well.
For example, the title should rightfully be changed to "Fiddler on the Ledge," since height limitations prevent the familiar opening of the show: There's no way Henrik Karapertyan could stand on a rooftop and fiddle his violin; instead, he's placed on a ledge only a few feet off the ground – and it doesn't harm the show one bit!
Also missing are a couple of dance numbers, but if you're not familiar with the show, you'd never know they were snipped.
The music, however, remains intact, beautifully rendered by a five-piece orchestra.
Also well executed is the deceptively simple set by the always impressive Monika Essen. A single unit masterfully serves multiple purposes, from Tevye's house to the shop of Motel the Taylor. When it's not needed, it's folded up and wheeled offstage.
Another tradition that has been changed is the interpretation of its lead character. Rather than a boisterous Tevye in the vein of actors Zero Mostel and Topol, Cantor Harold Orbach gives a more introspective performance. His is a thinking man's Tevye, and in this scaled-down production – and intimate house – it works. Plus, as an internationally acclaimed cantor, he gives several songs a spin that most other actors in the role could never duplicate.
The always wonderful Henrietta Hermelin Weinberg gives a fine performance as Tevye's wife, Golde. A singer, she's not, however, so another tradition is broken: She talks her way through her duet with Orbach – "Do You Love ME?" – and again, it works!
Other noteworthy performances are given by Arthur Beer (Lazar Wolf), Rachel Kaiman (Tzeitel), Alan Ball (Motel) and Jamie Richards (Perchik).
"Fiddler on the Roof" Staged Wednesday through Sunday by the Jewish Ensemble Theatre Company at the Aaron DeRoy Theatre, 6600 W. Maple Rd., West Bloomfield, through May 23. Tickets: $27 – $37. 248-788-2900. www.jettheatre.org.
The Bottom Line: To heck with tradition, JET's "Fiddler" will surely please audiences of all ages and ethnic groups!
Review: 'Nooner'
Mid-day liaison turns comedic
As a youngster growing up, my long-married next door neighbors were the talk – and envy, probably – of the neighborhood. For every workday at noon – and you could set your watch by his punctuality – Mr. G. would dutifully return home for a "nooner." Initially I thought that meant Mrs. G. served him a peanut butter and jelly sandwich with a garnish of potato chips, but eventually I learned what REALLY caused the smiles on their faces as he headed back to work a short time later.
Playwright Kim Carney takes the concept and adds a twist to it in her sinfully delightful comedy about marital infidelity, "Nooner," now playing at the Trinity House Theatre in Livonia courtesy of the Flanders Theater Company.
For the past year or so, Frank and Joyce have ridden the elevator together while going to and returning from their respective jobs. At first they secretly lusted after each other, but eventually the flirting began – followed by brief conversations. Finally, lunch at a local hotel is arranged, and as the show opens, the married couple – not to each other, of course – hesitantly enters the popular Guadalajara Room at the Harrington Hotel for an afternoon tryst.
And as you'd expect, the fireworks that ensue are not what the nervous couple anticipates!
Frank and Joyce fight the temptation to cheat on their spouses, but the lure of black lace lingerie and Michael Jordan briefs is too strong. The two finally toss their clothes and caution to the wind – her muscular, hirsute Greek husband and his domineering wife who just happens to be his boss's daughter, for starters – and they passionately slide into the pink silk sheets for some good old fashioned playtime.
Little do they suspect, however, that hidden beneath the bed is a knife-wielding, smooth-talking thief who gleefully takes advantage of their precarious situation. Not only does he steal their wallets, but their clothes, as well.
Which, of course, leaves only one course of action for the freaked out lovers: A trusted friend who can be sworn to secrecy must be summoned to bring them a fresh set of clothes.
But remember: This is a Kim Carney comedy, and Carney's witty scripts are never predictable; "Nooner" is no exception. Just when you think there are no twists left to make Frank and Joyce's predicament more painful, the playwright tosses yet another sharp curve into the story.
Just ask the nearly naked James Mio, who as Frank, suffers a knee to the groin not once, not twice, but multiple times throughout the play. Mio plays his role with the perfect mix of emotional shadings. He quickly jumps from wonderment and excitement to fear and regret; he's a cad one moment and an eager lover the next. His is a well-defined and thoroughly enjoyable performance from start to finish.
Amber Neuenschwander gives a fine performance as Joyce, the beautiful, but manipulative, vixen who believes everyone deserves a fantasty.
Also giving engaging performances are Jason Mercury as the cocky thief and Tara Tomcsik as his not-so-bright wife.
And Rick Hudson is totally convincing as two separate characters: the hotel manager and Ed, the sleazy slime bag who shows up to help Joyce with her problem.
Direction by Dr. Arthur J. Beer is up to his always-high standards.
"Nooner" Staged Friday through Sunday by Flanders Theater Company at Trinity House Theatre, 38840 W. Six Mile Rd., Livonia, through May 23. Tickets: $15. 313-538-5739. http://hometown.aol.com/markgflanders.
The Bottom Line: You won't have to fake it: This laugh-filled comedy might make you think twice about having a nooner of your own anytime soon!
