Last year, the Lyric Opera presented a dazzling production of The Magic Flute originally conceived for Berlin’s Komische Oper by Australian director Barrie Kosky. Now, the Lyric is at it again with the English language and North American premier of Kosky’s 2017 production of Fiddler on the Roof. The results are just as luminous.
The production begins in front of an immense screen with the gray image of the Ukrainian steppes, grasslands flanked by beeches, familiar to anyone who has seen old photos of that sad geography. But, amid all that gray stands a wooden door—incongruous as C.S. Lewis’ wardrobe. In silence, a young boy passes by and, as young boys do, opens the door. He takes out a violin and plays the first haunting notes of Jerry Bock’s memorable score.
And then comes Tevye out of that same wardrobe to tell the young fiddler—in this production, a stand-in for both the audience and future generations—about the little village of Annatevka. The immense gray screen lifts and there, in all its shabby jumbled glory, is a towering collection of trunks and chests and bureaus and wardrobes, all crazily piled on top of each other—a haphazard cabinet of curiosities. The entire cast pours out of its central door, filling the stage, casting immense whirling shadows, singing and celebrating Tradition.
The captivating genius of this thrilling beginning runs right through the entire production. Kosky’s hypnotizing vision restages familiar wonders into fresh astonishments: Jerome Robbin’s famous bottle dance … the crazy Walpurgisnacht of Tevye’s dream … the riotous celebration of To Life (L’Chaim) … every number surprises and captivates.
Of course, the cast is phenomenal. Steven Skybell (Tevye), reprises his triumph—this time, in English—from his masterful two-year run in Joel Grey’s acclaimed New York Yiddish production of the show. Broadway vet Debbie Gravitte (she’s been around since 1979’s They’re Playing Our Song) makes for a lovable, irascible, tuneful Golde.
Everyone is as they should be: matchmaker Yente (Joy Hermalyn) is funny; butcher Lazar Wolf (David Benoit) is blustery; the Rabbi (Bill McGough) ancient and rickety. And Tevye’s and Golde’s three marriageable daughters—Tzeitel (Lauren Marcus), Hodel (Austen Danielle Rohmer) and Chava (Maya Jacobsen)—are absolutely enchanting. Rohmer, in particular, has a beautiful voice that fills the vast house in her heartbreaking solo “Far from the Home I Love.”
The dancing is equally electrifying. Athletic, gymnastic, the dancers leap across the stage in ways you might think require a trampoline, but rely only on their energy and muscles.
I mentioned it earlier, but the set, designed by Rufus Didwiszuz, is a true marvel—inventive and clever. When, at the end of the show, it has disappeared—as it inevitably must in this tale of eventual exile and displacement—you keenly feel its absence.
Fiddler on the Roof runs through October 7 at the Lyric Opera (20 N. Wacker). See it if you can. Tickets can be purchased at www.lyricopera.org, and begin at $40. The show lasts three hours and 15 minutes.
For more information on this and other productions, see www.theatreinchicago.com.
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