After opening in New York in 1964, ‘FOTR’ was first seen in London at Her Majesty’s Theatre in 1967 where it ran for over 2000 performances. This moving yet humorous story of Jewish life in Russia in the early 1900’s contains some wonderfully evocative traditional music, and despite the sad ending is filled with hope for a better future in a happier land. It is my favourite show and I enjoyed your production very much.

Heather Legat’s direction was excellent and the choreography, which I assume she was responsible for as there isn’t a choreographer named, was very good. The use of the gauze in ‘Sabbath Prayer’ effectively produced an imaginary glimpse into the other homes in the village of Anatevka. The final bows were also nicely arranged. The ending is so sombre it seems inappropriate to have the more traditional cheery walk down.

The musical number ‘Tradition’ made a strong opening with the well-rehearsed cast ‘freezing’ realistically.

Many roles are important in ‘FOTR’ but none so much as Tevye, the Papa of five daughters, and Peter Wood was first rate. His emotions, depending on with whom he was dealing, were varied and evident and his relationship with his Maker was an easy and completely trusting one. He sang the big song of the show, ‘If I were a Rich Man’, superbly.  Perhaps touching his prayer shawl rather than wringing it would have been more authentic.

Connie Law made a very strong minded Golde who knew her place as the practical Jewish Mama, undoubtedly the head of the family in many ways, but a touch of a softer Golde could have come through in ‘Do you love me’ which she sang well.

A very good portrayal of the sensible eldest daughter Tzeitel by Aileen Smith, who showed the determination needed in order to encourage her would be suitor Motel.  The three girls sang well and ‘Matchmaker’ was an especially good number from every aspect.

Peter White made a most credible deferential, timid tailor and he also displayed a blossoming appropriate confidence in ‘Miracle of Miracles’.
Another good performance was from Amanda Lapping in the role of Hodel; slightly feisty and again able to show different emotions as she shyly started to dance with Perchik.  A modicum of humour would have made Perchik a more appealing character. Nigel Smith’s characterisation of the earnest student needed some lighter moments, especially in his wooing of Hodel.
Chava, (not Chalva as spelled in the programme) was played with confidence by Annelly James who also brought the necessary emotions into play in her dealings with her father, and I had a tear in my eye when she was rejected by him.

I know how difficult it is to cast men who are suitable for certain roles and although Ian Thomas gave a reasonable performance he was just not believable as a young Russian who would capture the heart of the youngest daughter.

Anne Smith as Yente the typical village busybody conveyed her role as matchmaker perfectly, and Clive Walker handled the Lazar Wolf role competently.    In the tricky cameo roles of Frumah Sarah and Grandma Tzeitel, Donna Marshall and Beth Tranter acquitted themselves well.

As the Constable, Andrew Rickson tended to deliver his dialogue to the audience rather than relating to his fellow performers, perhaps something to work on in the future.

The numerous supporting roles and chorus members all helped to make the production visually and aurally enjoyable, and the sound and lighting were good.   Moving the trucks on and off was not easy but the backstage crew coped very well and everything ran smoothly.  The Stage Production set was fresh looking and the props used were suitable for the period, but the addition of a table would have made the inside of the house more homely, and also provided a place for the important first exchange between Golde and Yente.

Costumes were generally good except for the Rabbi’s suit, which was completely wrong. It resembled a modern suit, and he would undoubtedly have worn a long coat and a prayer stole.  Lazar Wolf’s trousers were too light in colour, and the two young boys whom Yente presented to Golde, had outfits that were also out of keeping with the piece.

Make up was a little mixed; there seldom seems to be any uniformity in stage makeup these days, but the hairstyles and facial hair looked fine.

The orchestra, under the baton of Howard Chapman, performed the wonderful musical score with great sensitivity and assurance.

It’s a change to have a different programme style and it was nicely put together.

Thank you for inviting me to see your production of ‘Fiddler on the Roof’ which I very much enjoyed, and also for your hospitality on the evening.

E. Gloria Smith
N.O.D.A. Regional Representative