Franklin Light Opera’s Fiddler on the Roof
Fiddler on the Roof at Franklin Light Opera was the perfect production for this family-oriented theater to endeavor. After attending the show the night of September 19th, I am endlessly impressed with the level of quality and enjoyment audiences receive at each Franklin Light Opera show. Fiddler on the Roof has remained a beloved show for many age groups and has stood the test of time as it continues to be interpreted and performed. Throughout the show, Tevye (Joe Leavitt) and his family of seven navigate many obstacles of religious oppression, the choice to maintain traditions, and familial bonds remaining stronger than societal expectations. The unique storyline of this particular family’s challenges and growth, parallels the looming threat Jewish people faced in the early 1900’s. The metaphorical (and in this case, literal) personification of the fiddler on the roof, represents the uncertainty and constantly moving nature of life. Additionally, Fiddler on the Roof is one of very few theatrical productions that calls for not only a very wide age range of actors, but tasteful loyalty to religious tradition, deep solemnity and understanding of historical events. Times continue to change, and therefore the message of this show will never die. This production took the societal love of this musical and expanded on its themes, making for a fresh, beautiful adaptation of a classic story.
It was abundantly clear each actor and actress had an understanding of their characters that transcended the glimpse the audience receives of their life. To put it plainly, Joe Leavitt took on a beast of a character with incredible grace. Tevye is the main character and narrator of this story from the very first. He remains a consistent part the entirety of the show, as there are only one or two scenes he is not involved in. Tevye is a role that equally requires impeccable singing and acting prowess. He begins the musical by entertaining the audience with the hilarious (and lengthy!) “If I Were A Rich Man,” and ends the story having lost his daughter and being forced to move his family out of a home they have always known. It has been said that Tevye is one of the most well-written, nuanced characters in musical theater history. Leavitt embodied this role excellently. Every moment of humor, confusion, inner turmoil, and love was portrayed clearly and effectively. Leavitt’s performance made the audience sympathize and connect to Tevye, which made the entire production that much more special. Brava!
I am additionally impressed with several of the emotional moments of the show, as these are oftentimes the most difficult to portray successfully! Golde (Tara Jackson) and Tevye’s “Do You Love Me” was perfectly heartwarming. Jackson did a wonderful job of maintaining a powerful and matronly composure, but this number rounded out Golde’s character arc, adding a layer of heart. Maryn Quimby did not disappoint with Hodel’s “Far From the Home I Love,” one of the most musically and emotionally stunning pieces in soprano repertoire, and possibly the most famous number in the show. This song and following scene were powerful in emotion and left the audience teary eyed and heartbroken as Hodel bravely leaves her family to follow her love. Katherine Light portrayed a beautiful Tzietel and my jaw dropped at her impassioned reaction to having to marry a man whom she did not love. These moments make the relief and happiness of the story just as potent as the sorrow. Congratulations to this cast for making this story work effectively in all aspects, and to the live musicians performing the music!
Several directorial choices aided to the effectiveness of the story as well, the humorous moments were well balanced with the serious. Every spotlight change on Tevye, as he explored his inner dialogue and indecision, was funny. Every single one! In turn, it allowed me to notice the intentional moments in which the spotlight did not change towards the end, representing Tevye’s emotional clarity. The “dream sequence” in the first act is canonically a very difficult scene to convey to the audience, due to the important plot points introduced by multiple new characters and the many people on stage. I was very pleased to have been able to understand each word and effectively follow the focus of the scene as it shifted from Tevye and Golde to the ensemble. The Jewish traditions and religious apparel were both done tastefully. It is important to be as loyal to the ethnic group being represented in a story as possible, especially if it is different than one’s own. While I do think some of the head coverings could have been secured tighter and the hair could have been kept off some of the actresses’ faces, I understand the difficulty of accuracy in this regard. In this same vein, occasionally there were too many people on stage and it made the scenes feel cluttered. However, allowing the ensemble to utilize the aisles and audience helped this issue immensely.
Franklin Light Opera is always sure to put on a wonderful show, but Fiddler on the Roof was an excellent choice for this particular theater. The obvious real-life family within not only the performers, but creative team and technical assistants made for a uniquely special production. I mean, the musicians playing the beautiful score were included in the story at several points as well! Brava to every person involved in Fiddler on the Roof at Franklin Light Opera, be sure to check out their website for information about upcoming productions!
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Currently studying music at Middle Tennessee State University, Vivian Acevedo is a huge theater and arts lover. She believes in the healing power of music and its importance in the world!
