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. 

The Cherry Orchard ** C-

Many consider “The Cherry Orchard” to be Chekhov’s masterpiece. I do not share that opinion. To me, it falls short in many respects. It revisits many themes that Chekhov addressed more artfully in his earlier plays, particularly in “Uncle Vanya.” It has too many characters to develop more than sketchily. Furthermore, most of these characters are insufficiently compelling to merit our attention. The plot has an element that I have never understood: it defies reason that Ranevskaya (Diane Lane) would hold a party on the very day that her estate is to be auctioned. However, the verdict of history is that the play is a major classic, so it was intriguing to see what a promising American playwright, Stephen Karam, would do with it in his “new version” for Roundabout Theatre.

The verdict is mixed. The translation is quite idiomatic, but the central concept of the production did not work for me. Karam tries to draw analogies between the effects of serfdom in Russia and the legacy of slavery in America. Instead of nontradtional (P.C. for colorbiind) casting, we have color-coded casting. Three characters who represent Russia’s future — nouveau riche landowner Lopakhin (Harold Perrineau), proletarian student Trofimov (Kyle Beltran) and the lucky neighbor Simeon-Pischik (Chuck Cooper) — and one who escapes it — manservant Yasha (Maurice Jones) — are all played by black actors. All the others, who are more or less victims of social change, are played by white actors — Ranevskaya, her daughterr Anya (Tavi Gevison), her stepdaughter Vanya (Celia Keenan-Bolger), her brother Gaev (John Glover), governess Charlotta Ivanovna (Tina Benko), clerk Yepikhodov (Quinn Mattfield), maid Dunyasha (Susannah Flood) and servant Firs (Joel Grey). It’s an interesting idea, but I did not think it was a valid analogy. For one thing, serfdom was not based on race. I'm not sure why the tramp who interrupts the picnic scene suddenly begins reciting Emma Lazarus's "The New Colossus."

Most of the actors were creditable, but not memorable; however, they did not seem to be working as an ensemble. The party scene, lively to a fault, seemed to belong to a different play. The incidental music by Nico Muhly did not suggest Russia. A brief melody after the party scene incongruously recalled the “mazel tov” song heard at Jewish celebrations. Scott Pask’s set design was low-key, although I did like the Calderesque mobiles that represented the cherry trees. There’s an area rug in act one that two actors tripped on. Some of Michael Krass's costuming choices were puzzling, especially a particularly garish outfit for Lopakhin. Director Simon Godwin, an import from London, did not seem to have a sure grip on the material. It isn’t a terrible production, just a misguided one. Running time: two hours 20 minutes including intermission.

Anything Goes ***

The Roundabout Theatre Company's  revival of Cole Porter's hit show about the shenanigans on a transatlantic crossing is now at the lovely Stephen Sondheim Theatre. It's great to hear Porter's wonderful music and lyrics and to see Kathleen Marshall's terrific dance numbers. Unfortunately, these pleasures come with one of the silliest books ever written (and rewritten.) The best thing to do is to turn off your need for coherence, relax and enjoy the show. As Reno Sweeney, Sutton Foster's singing and dancing are wonderful, but I thought she fell a bit short creating the character. Joel Grey is miscast as gangster Moonface Martin. In the ingenue roles, Colin Donnell made a slightly bland Billy Crocker, while Laura Osnes revealed a lovely voice as Hope Harcourt. John McMartin, as Elisha Whitney, once again proves why he has had such a long and successful career. It was fun to see Jessica Walter onstage as Mrs. Evangeline Harcourt. Adam Godley was absolutely hilarious as Hope's fiance, Lord Evelyn Oakleigh. Jessica Stone was fun as the sexually voracious gangster moll Erma. The three-tiered set by Derek McLane is super and Martin Pakledinaz's period costumes are sensational. Marshall's direction and Rob Fisher's music direction were excellent. In short, it was a pleasurable but not memorable experience.