Broadway's "Fiddler on the Roof" comes to Milwaukee

Exuberant revival upholds & evolves tradition

From a score that transcends time to the iconic bottle dance to Tevye’s lovable wit, Fiddler on the Roof remains a sensational, spirited tradition. This touring production, on stage now at Milwaukee’s Marcus Center for the Performing Arts, comes from the 2016 Tony-nominated Broadway revival directed by Tony-winner Bartlett Sher.

A 1965 classic by Joseph Stein, Jerry Bock, and Sheldon Harnick, Fiddler on the Roof is so beloved and enduring among musical theater enthusiasts, it requires minimal updating to retain audience enthusiasm. This particular revival delivers little in the way of sweeping changes that fall far outside of the box. Rather, the most obvious change is the way the story is framed by modernity. More on that shortly; let’s start with the story itself.

Fiddler follows the journey of Tevye, a poor Jewish milkman with five daughters who are coming of age in the Russian village of Anatevka circa 1905. In short, his daughters require husbands — husbands that are traditionally arranged by a matchmaker and approved by the father. But times are changing, and the idea of marrying for love is a radical one, shaking things up and challenging Tevye’s commitment to the traditions of his people and faith.

It’s a beautiful narrative, chock-full of witty and well-rounded characters. As Tevye, Yehezkel Lazarov particularly shines in his comedic moments, as well as any time he shares the stage with wife Golde, played by Maite Uzal. She’s a firecracker, tough as nails, and the way she and Lazarov play off each other is as laugh-aloud funny as it is heartwarming.

Other stand-outs include Tevye’s three eldest daughters (Mel Weyn, Ruthy Froch, Natalie Powers), who form a solid and sincere sisterly trio. Of their suitors, the adorably jittery Motel (Jesse Weil) is a favorite. On opening night at the Marcus Center, his impassioned and unforgettable, “even a poor tailor is entitled to some happiness,” was answered with a burst of applause.

It’s moments like Motel’s that continue to endear Fiddler on the Roof to avid fans of the show — plus humor that’s still funny after 50 years and songs that never get old. For newcomers, I suspect their initial obsession will lie in the choreography by acclaimed Israeli choreographer Hofesh Shechter.

From Russian acrobatics to a frenzy of long black coats whirling in unison to the dreamy “Chaveleh” ballet, there is familiarity in Shechter's Jerome Robbins-inspired movements. Yet he has given the tried-and-true a perfect refresh, achieving something even more awesomely exuberant than before. This is dancing you can’t tear your eyes from. How fitting that, in a show centered on the pull of tradition vs. change, certain famous Fiddler traditions are upheld, yet they continue to evolve for the better.

The biggest evolution in this revival production happens in the span of a minute: the aforementioned modern framing. It’s a short addition that packs a punch. At the very start of the show, a man in a red parka emerges with a book in hand. He’s presumably a contemporary Jewish man, perhaps in search of his own history. The man quickly sheds his parka and becomes our Tevye, launching seamlessly into the opening “Tradition.”

At the end of the show, Tevye exits the stage, then reemerges, dressed in his red parka once more, and joins the procession. Without completely spoiling the ending for any Fiddler newbies, let’s just say that this is meant to draw parallels between past and present. It’s effective and thought-provoking, though purists might argue it’s unnecessary. I suppose if it starts a meaningful dialogue, such changes to tradition certainly don’t hurt.