April 29, 2008
This is one of the great musicals, much beloved and with good reason. On the face of it, the daily life of a poor Jewish family about to be persecuted and ultimately booted out of their home in a little Russian village in 1905 is not a promising subject for a feel-good musical. But, in the voices of the characters, in the absolutely compelling story of Tevye’s three older daughters and their love affairs, in Tevye’s relationships with his wonderful dragon of a wife, and with God, and in the details of this vanished society are all the life-affirming love and joy and pain that you should find in a great piece of theatre - plus absolutely show-stoppingly wonderful songs and first-class dancing. This production is excellent, and boasts some exceptionally strong singers, as well as a really splendid live orchestra. From the opening number, Tradition, belted out at full blast but with perfect harmonies, you know you’re in for a really good evening, and you’re not wrong.
It isn’t exactly a one-man show, but Tevye is certainly the lynch-pin that holds it all together, and the production will stand or fall by him. Joe McGann is a tall, charismatic, strikingly handsome Tevye, dominating the stage and most of the other characters with his laid-back, slightly sardonic version of the Papa. He really suits a full beard – it’s not often you can say that of a chap – and despite his mesmerising blue eyes, he does look the part, though he isn’t a humorous, twinkly Tevye after the mould of Topol; his face is long, drawn, and expressive of suffering patiently endured. I had no idea he could sing, but he has a really wonderful voice, husky, smokey, warm, rich, emotional, strong – a voice to melt your bones. Carrie Ellis is a fine match to him as his wife Golde, a whirling dynamo of domestic energy, directing the operations of house and dairy through her daughters and husband with a tart tongue and tough love. The three older daughters – Jessica Punch as Tzeitl, Katie Lovell as Hodel, and Martine McMenemy as Chava – were all really strong, extremely pretty, sympathetic, and with lovely voices. I hope they are being properly paid – there was a rather disturbing tendency in the programme biogs for all the younger players to express very heartfelt thanks to their families for supporting them.
One of the great highlights of this production is the scene in which Tevye convinces Golde to agree to the marriage of their eldest daughter Tzeitl to the man she loves, via the musical exposition of a dream which involves a visit from Golde’s (dead) grandmother and the unsuccessful suitor’s (dead) first wife. This was brilliantly danced and sung by what looked like the entire company as spirits, and an outstanding singer, Hayley Gallivan, as Fruma Sarah, who somehow managed to sing the song whilst operating a ten-foot-tall scary puppet (this was a bit much for the small children in the audience – be warned). Another scene that absolutely blew the audience away was the tavern scene in which Tevye mistakenly makes his agreement with Lazar Wolf and the young Christian peasants have a kind of dance-off with the Jewish boys. This was brilliantly choreographed, high-octane energy and awash with testosterone – super! All the young male dancers were excellent, but one stood out in particular: Stephen Kirwan as the Fiddler, a perfect example of that very rare combination of grace and masculinity – he was entrancing.
Last night was the first night and the theatre was almost full. I don’t know if there any tickets left for the rest of the week, but you should certainly try to get some if you still can.
It isn’t exactly a one-man show, but Tevye is certainly the lynch-pin that holds it all together, and the production will stand or fall by him. Joe McGann is a tall, charismatic, strikingly handsome Tevye, dominating the stage and most of the other characters with his laid-back, slightly sardonic version of the Papa. He really suits a full beard – it’s not often you can say that of a chap – and despite his mesmerising blue eyes, he does look the part, though he isn’t a humorous, twinkly Tevye after the mould of Topol; his face is long, drawn, and expressive of suffering patiently endured. I had no idea he could sing, but he has a really wonderful voice, husky, smokey, warm, rich, emotional, strong – a voice to melt your bones. Carrie Ellis is a fine match to him as his wife Golde, a whirling dynamo of domestic energy, directing the operations of house and dairy through her daughters and husband with a tart tongue and tough love. The three older daughters – Jessica Punch as Tzeitl, Katie Lovell as Hodel, and Martine McMenemy as Chava – were all really strong, extremely pretty, sympathetic, and with lovely voices. I hope they are being properly paid – there was a rather disturbing tendency in the programme biogs for all the younger players to express very heartfelt thanks to their families for supporting them.
One of the great highlights of this production is the scene in which Tevye convinces Golde to agree to the marriage of their eldest daughter Tzeitl to the man she loves, via the musical exposition of a dream which involves a visit from Golde’s (dead) grandmother and the unsuccessful suitor’s (dead) first wife. This was brilliantly danced and sung by what looked like the entire company as spirits, and an outstanding singer, Hayley Gallivan, as Fruma Sarah, who somehow managed to sing the song whilst operating a ten-foot-tall scary puppet (this was a bit much for the small children in the audience – be warned). Another scene that absolutely blew the audience away was the tavern scene in which Tevye mistakenly makes his agreement with Lazar Wolf and the young Christian peasants have a kind of dance-off with the Jewish boys. This was brilliantly choreographed, high-octane energy and awash with testosterone – super! All the young male dancers were excellent, but one stood out in particular: Stephen Kirwan as the Fiddler, a perfect example of that very rare combination of grace and masculinity – he was entrancing.
Last night was the first night and the theatre was almost full. I don’t know if there any tickets left for the rest of the week, but you should certainly try to get some if you still can.