Fiddler on the Roof (in Yiddish)

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I greatly enjoyed the Broadway revival of this classic American musical directed by Bartlett Sher two years ago. In spite of that — or perhaps because of it — I wasn’t sure I was ready to see another Fiddler, even one in Yiddish. But then I remembered how much I liked National Yiddish Theatre Folksbiene’s production of The Golden Bride that same year and was curious to see what they would do with Fiddler in a 1966 translation by Israel actor and director Shraga Friedman that had never been performed in the US. I am very glad that I decided to buy a ticket. Although it may lack Broadway polish, Folksbiene’s version, now running until October 25 at the Museum of Jewish Heritage, has a purity and emotional accessibility that makes up for its modest production values. The cast of 26 mostly young actors, almost none of whom knew Yiddish, have learned their lessons well. The singers have excellent voices and the dancers are absolutely first-rate. Staś Kmieć works wonders staging the Robbins-inspired dances and just moving the large cast around on a small stage. The score sounds great in an orchestration by Don Walker adapted by Larry Blank for 12 musicians led by Zalmen Mlotek. Steven Skybell (Pal Joey, Wicked) plays Tevye more as an everyman than a larger-than-life figure, which I think works very well. Jennifer Babiak’s Golde (Fiddler on Broadway) is slightly bland; she would benefit from makeup to make her look older. The roles of the three elder daughters —Tsaytl (Rachel Zatcoff; The Phantom of the Opera), Hodl (Stephanie Lynne Mason; The Sorceress) and Khave (Rosie Jo Neddy) — and their respective suitors — Motl (Ben Liebert; Wicked, Little Shop of Horrors) , Pertshik (Daniel Kahn; Amerike - The Golden Land) and Fyedke (Cameron Johnson; The Golden Bride) — are all very well performed. I was afraid that Jackie Hoffman (On the Town, Hairspray) might overwhelm the role of Yente, but fortunately she gives what is for her a restrained performance. Beowulf Boritt’s (Act One, The Scotttsboro Boys) set consists mainly of a series of hanging fabric panels with the word “Torah” in Yiddish on the central one, with simple props moved in as needed. The orchestra is seated behind the panels. Ann Hould-Ward’s (Beauty and the Beast, Into the Woods) costumes deliberately stick to a very limited color palette. Only the Christians get a dash of bright color. The multitalented Joel Grey (Cabaret, The Normal Heart), whose gifts seem undimmed by age, directs with complete assurance. I think the creators — Jerry Bock (music), Sheldon Harnick (lyrics) and Joseph Stein (book) — would have approved. The production has excellent surtitles in both English and Russian. My rudimentary knowledge of Yiddish required me to consult them more often than I had expected, but it was not really an impediment to my enjoyment. Running time: 3 hours including intermission. 

On the Town ****

Would that there were talents like Leonard Bernstein, Betty Comden and Adolph Green writing for the Broadway stage today! To see their 1994 love letter to New York in this wonderful revival, originally developed for Barrington Stage, is sheer pleasure. What the cast lacks in name recognition it more than makes up for in talent. Tony Yazbeck, Jay Armstrong Johnson and Clyde Alvez are superb as Gabey, Chip and Ozzie, three sailors out to make their most of a 24-hour leave in New York City. Alysha Umphress is a hoot as Hildy, the taxi driver who virtually kidnaps Chip. NYCB principal Megan Fairchild makes an auspicious Broadway debut as Ivy Smith, the Miss Turnstiles for June that Gabey is determined to meet. Elizabeth Stanley is just OK as Claire, the anthropologist who gets carried away with Ozzie. Audience favorite Jackie Hoffman is a barrel of laughs in her four roles. Phillip Boykin is wonderful too in multiple roles. Beowulf Boritt’s scenic and production design relies heavily on sophisticated projections and translucent panels, to fine effect, especially as lit by Jason Lyons. Jess Goldstein’s costumes are wonderfully over the top. Joshua Bergasse had a touch act to follow after Jerome Robbins’s original choreography, but he handles the task well. It has been a while since a Broadway show has taken the time for extended pure dance sequences. The orchestra under James Moore does full justice to Bernstein's score. John Rando’s direction is uncluttered and assured. The audience was large and enthusiastic. This show’s 1971 and 1998 revivals barely lasted two months. This production deserves to fare better. Running time: 2 hours 40 minutes including intermission.