Updated: December 31, 2005 *Flash required to properly view page NEW! AJC Names Rachel's Spring Show Best Musical of the Year!!: 2005: THE YEAR IN THEATER: Local players shine as world of stageloses leading lights In 2005, Atlanta artists and institutions made national headlines. The city got its first professional theater awards. The country said goodbye to two giants of American theater. And in a couple of instances these various developments overlapped with uncanny timing. Consider: In October, the Alliance Theatre's "The Color Purple" won Atlanta's first Suzi Bass Award for best production of the 2004-2005 season. A few weeks later, the revamped musical opened on Broadway. Oprah Winfrey backed it, but some critics sacked it. *jump to...* But 2005 was more than a parade of bittersweet goodbyes and inevitable transitions. It was a year of remarkable productions and performances, superb direction and stunning design. Let us now celebrate the creme de la creme: > BEST MUSICAL: "Fiddler on the Roof." A lesser "Fiddler" might've been too tedious to bear. But director Jessica Phelps West turned the tale of Tevye into a soaring affirmation of faith, hope and love. Jewish Theatre of the South.
Ambitious 'Fiddler' brims with life and high spirits THEATER REVIEW "Fiddler on the Roof" at Jewish Theatre of the South 8 p.m. Wednesdays, Thursdays and Saturdays; 3 p.m. Sundays. Also, 10:30 a.m. today. Through June 5. $18-$26. Jewish Theatre of the South, 5342 Tilly Mill Road, Dunwoody. 770-395-2654, www.jplay.org. The verdict: One of the season's best musicals --- a balm for the soul. It's twilight for the crumbling empire of czarist Russia. A sleepy village of Jewish peasants clings to tradition, but change is afoot. In the case of Tevye the milkman and his five daughters, the old system of arranged weddings is about to be abandoned for the revolutionary idea of mutual love. How modern. This is, of course, the backbone of the 1964 Jerry Bock-Sheldon Harnick musical "Fiddler on the Roof," based on the stories of Yiddish writer Sholom Aleichem. Even though Tevye's is a Job-like struggle that shakes his belief in God and family, "Fiddler on the Roof" is a soaring tale of faith, hope and optimism. Every hummable word and note affirms a people's refusal to be crushed by the dark drumbeat of tyranny and time. Tevye may never acquire the wealth he dreams of, but he's rich in the blessings of happiness and love. "Fiddler on the Roof" is the final show of Jewish Theatre of the South's 10th season, and I confess I wasn't sure this midsize ensemble could pull off such an ambitious, expensive and complicated endeavor. But here I am eating my hat (which, like Tevye, I must always keep on, in case I get run out of town). The Dunwoody theater deserves a big-old mazel tov for a splendid, beautifully realized revival of "Fiddler" that bristles with energy and emotion. Director Jessica Phelps West brings yenta-like attention to every detail of this 27-member undertaking, and the end result is a joyful match of superb acting, exuberant dancing, lovely singing and inspired puppetry. Led by the Falstaffian Bruce Evers as Tevye and the formidable Agnes Lucinda Harty as Golde, this "Fiddler" is one of the season's best musicals. Call me a schlemiel. But I can't find much here to criticize. Though Evers and Harty seem to have been chosen for their acting, they supplement that strength with credible singing voices. Even the smaller roles amount to a veritable who's who of memorable performers. Lawrence Salberg ("A Man of No Importance") is here, as well as young Zachary Solomon ("The Little Baby Snoogle-Fleejer") and newcomers Eric Catania and Jerrica Knight-Catania ("The Last Five Years"). Yente (Jeanmarie Collins) is an acerbic old babushka who doesn't just take home Golde's challah for her Sabbath supper; she also lifts the breadboard. Collins' guttural accent is so pronounced that she almost needs a spittoon. As eldest daughter Tzeitel, who jilts the butcher who's gotten permission to marry her, Knight-Catania evokes just the right blend of resignation and rebellion. Tzeitel doesn't want to hurt her father, yet she must be true to herself. That's even more the case with Chava (Rachel Bodenstein), who commits the unpardonable crime of marrying outside the faith. Bodenstein's account of Tevye's "sweet little bird" is heartbreaking. The daughters' suitors have winning personalities. Fyedka (David Rossetti) may be a goy, but he's handsome, literate and a marvelous dancer. Perchik (Brian Kimmel), whose red kerchief signifies his political leanings, is a dreamer and a wanderer, and Kimmel brings to this character a sense of boyish vigor and idealism. And Motel the tailor (Brandon O'Dell) might be penniless, but he's wholly devoted to Tzeitel. Puppet designer Lucky Yates' creations turn the dream sequences into scary-funny hallucinogenic visitations by Grandma Tzeitel (puppeteered by Rita Dolphin, who also plays Hodel) and Fruma Sarah, a mammoth ghost-puppet that requires no fewer than four actors to manipulate. These cleverly concocted sequences are delightful without being too campy. Set designer Corky Pratt has rendered an approximation of a Russian country hamlet that refuses to rely on quaintness or draw attention to itself; it simply serves the play. On the other hand (as Tevye might say), Jessica McDill and Sean Michael Patton's costumes transform the work into a tableau vivant with a burnished, painterly touch. When Golde affectionately tugs at Tevye's whiskers, when Harty's lilting soprano flows like a lace veil around the "Sabbath Prayer," "Fiddler on the Roof" is like a blessing of peace from the village of Anatevka to God's ears. L'chaim.
Fit as a Fiddle BY CURT HOLMAN Either during or just after every election year, someone should stage Fiddler on the Roof. In an era when partisan agitators use the phrase "family values" as both political weapon and barricade, the classic musical demonstrates that folkways and faith needn't divide people. Jewish Theatre of the South's exuberant production finds Fiddler as a kind of how-to text for balancing lifelong customs and timely priorities, along with a lesson in juggling the demands of family, community and God. Plus, you can sing along to it. Far from being simply a nostalgic tribute to salt-of-the-earth culture, Fiddler suggests that in a little corner of early 20th-century Russia, the way of life includes petty feuds, the subjugation of women and the occasional anti-Semitic pogrom. Primarily joy shoots through Jewish Theatre of the South's production, causing it to gloss over some of the play's darker corners. As Fiddler's opening song, "Tradition," spells out, the shtetl of Anatevka stands on convention. When the ensemble voices the classic roles of fathers and mothers, daughters and sons, they raise their fingers and stamp the ground, as if to prove that tradition provides their literal foundation. Composer Jerry Bock and lyricist Sheldon Harnick even turn Jewish customs into material for hummable numbers like "Sabbath Prayer" and "Sunrise, Sunset's" wedding ceremony. Bruce Evers plays the milkman Tevye like Anatevka on two feet. The father to five daughters, Tevye remains one of Broadway's archetypal "life force" characters, and Evers, a mainstay of Georgia Shakespeare, can fill the milkman's boots. While neither a nimble dancer nor a honey-voiced singer, Evers can sell a song, make an aside to the audience and boom with laughter while never sounding phony. His leonine beard and fatherly imperiousness surrounds a soft, sentimental center. When his daughters (Jerrica Knight-Catania, Rita Dolphin and Rachel Bodenstein) each approach him with different marital wishes, Tevye slips into internal monologues, announced by singing the word "Tradition"; the lyrical reprise illustrates how deeply customs runs in his character. Evers truly excels not with his castmates, but with the Almighty. Tevye doesn't pray so much as engage in respectful, ingratiating, it's-just-us-guys chats with the deity. Fiddler features an extremely appealing idea of piety. When Tevye grants meek suitor Motel (Brandon O'Dell) permission to marry one of his daughters, Motel bursts with the song "Miracle of Miracles," drawing examples of biblical heroes as approachable role models. The villagers of Fiddler may have strained relationships between each other, but they're on great terms with God. Director Jessica Phelps West brings out the play's sense of fun, embellished by the Klezmer flavorings of the violinist and accordion. When Tevye recounts a spooky dream to his wife, Golde (Agnes Harty), the ghostly visions include singing puppets, one the size of a carnival costume. Rita Dolphin sings the role of one ghost, and in a testament to her vitality, we look at Dolphin, not the hand puppet. Harty sings "Do You Love Me?" with great clarity and tenderness, one of the only times Fiddler makes full use of her talent. Choreographer Jen MacQueen reproduces some of the exciting Russian folk dances from Broadway's Fiddler, yet at times keeps the cast at a standstill. The ensemble remains weirdly rooted during the final number, "Anatevka," and the play's whole ending feels a little too cheerful. The villagers face upheaval that means the end of their narrow world, yet the production emphasizes the hopeful grace notes more than the sense of calamity. Perhaps such sunniness was unavoidable, given that Fiddler on the Roof celebrates both Jewish Theatre of the South's 10th anniversary and the musical's 40th year. Staging Fiddler clearly represents a long-anticipated fulfillment for the Jewish playhouse, and conjures a festive, family-reunion atmosphere that the production never quite escapes. But you can't blame the theater for milking Evers' enthusiasm and Fiddler's fresh social themes. It feels like a family thing.
'Fiddler' closes out 10th season at JTS Jewish Theatre of the South closes the curtain on its 10th anniversary season with a delightful rendition of the Broadway classic, "Fiddler on the Roof." Set in 1905 in the Russian village of Anatevka, "Fiddler" tells the story of proud milkman Tevye (Bruce Evers), his strong-willed wife Golde (Agnes Harty) and their five spirited daughters. As the Russian Revolution approaches, Tevye holds tight to the traditions that for generations have shaped Anatevka. But as attitudes begin to change, especially those of his three oldest daughters--Tzeitel (Jerrica Knight-Catania), Hodel (Rita Dolphin) and Chava (Rachel Bodenstein)--Tevye realizes he must change with them. JTS' production includes top-notch versions of "Fiddler's" musical favorites, including "Matchmaker," "If I Were A Rich Man," and "Sunrise, Sunset." Evers leads the talented ensemble with a performance that captures the heart beneath Tevye's brawn. As the women that rattle Tevye's traditional world, Harty, Knight-Catania, Dolphin and Bodenstein also shine, with strong vocals and engaging performances. North Springs High School theater teacher Brian Kimmel also delivers an impressive portrayal of radical village newcomer, Perchik. The production's lively choreography and creative, interchanging set design--Tevye's dream sequence is one of JTS' most imaginative scenes-- keeps the lengthy musical moving. Whether you're a "Fiddler" fan, or you're new to the trials and tribulations of Anatevka, you're sure to enjoy JTS' stellar rendition. It's a production that definitely will entertain audiences of all ages.
"Among the supporting players, Rachel Bodenstein excels as the daughter who pushes Tevye to a breaking point by marrying outside her faith. As her romantic interest, David Rossetti is a real discovery—a capable acting talent, with a beautiful singing voice to match, he also dazzles in a couple of show-stopping dance routines (choreographed by Jen MacQueen)." -The Sunday Paper review by Bert Osborne "The cast's standouts were the daughters and their suitors. I especially enjoyed Rachel Bodenstein’s Chava—her characterization was beautiful as was her dancing. Her second act scenes with Tevye and her solo were among the evening’s highlights. " -Theaterreview.com On "They're Playing Our Song": "Highlights for me include Mr. Jones' .... look of lust with the help of the very funny Ms. Bodenstein." -Robert Drake on the Atlanta Theatre Mailing List "The comic timing of Rachel Bodenstein belongs on SNL or MadTV. A very funny girl!" -Kristie Krabe on the Atlanta Theatre Mailing List
|