{"id":9755,"date":"2019-02-28T19:06:00","date_gmt":"2019-02-28T19:06:00","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9755"},"modified":"2019-04-16T12:36:55","modified_gmt":"2019-04-16T12:36:55","slug":"fiddler-on-the-roof-at-the-menier-chocolate-factory-as-moving-and-important-as-ever","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/02\/28\/fiddler-on-the-roof-at-the-menier-chocolate-factory-as-moving-and-important-as-ever\/","title":{"rendered":"Fiddler on the Roof at the Menier Chocolate Factory: As Moving and Important as Ever"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today\u2019s show is Fiddler on the Roof, playing at London\u2019s Menier Chocolate Factory until March 9.<\/em>

Even though I have known Fiddler on the Roof by heart my entire life (I think Jews are born knowing it (jk I was also in it once upon a time)), I am always surprised at how great a show it is, every time I see it. When a bit of time passes in between viewings \u2013 like now, since the last time I saw a production was the 2016 Broadway production with Danny Burstein (entirely perfection) \u2013 I\u2019ll recall how special a show it is to me personally but forget a little bit that it is a masterpiece simply as written. And then the show starts, and it is just nonstop onslaught of perfection: fantastic song after fantastic song, utterly hilarious lines, heartbreaking emotional depth. After seeing another fabulous production of this sweeping epic show, I can\u2019t imagine ever letting Fiddler slip from the forefront of my mind again when I think of exceptional musicals in the entire canon. London\u2019s Menier Chocolate Factory virtually always produces top-notch productions, and its Fiddler continues the trend.<\/p>\n\n\n\n

\n\n\n\n

In a rather small, cramped room, the audience gets as close to the action as possible, feeling dropped into Anatevka with Tevye, his wife Golde, and their five daughters, along with all the delightful townspeople. This small space (which gets overheated fast, btw, like a real schvitz) instantly provides a different experience from other productions: with everyone on the same level, with just the floor in the middle as the stage, it\u2019s more intimate than any big theatre with a traditional proscenium can achieve. I\u2019m curious to see how this will change when it transfers to the West End; I hope they retain some aspects of this intimacy.

The set design uses the space wonderfully, with the small wooden houses and their pointed roofs against the one side of the room without audience rows, and the cast coming in and out of the same entrance that the audience used, passing right by my aisle seat (obviously nearest this exit; it\u2019s a long-ass show) so close that I had to lean away several times to avoid being hit with chairs and luggage and whatever else they were carrying out. I highly recommend sitting by this door (my perfect seat was C35), because it lets you witness without a doubt my favorite aspect of this production, differentiating it from all others: the cast would continue their conversations as they exited the stage\/theatre, fully in character and saying remarkable (or completely banal, but the fact that I was hearing their extra conversations made everything about it remarkable) things to each other that only I and a handful of others similarly placed could hear. That they continuously went to so much extra effort to convincingly inhabit their characters for so few people filled me with so much joy. When anyone talks to me this season about getting rid of t-shirts that no longer bring them joy I\u2019m like, if you didn\u2019t sit by the door in Fiddler, you don\u2019t know squat about what brings joy, also just clean your house more.

This production stars Andy Nyman as Tevye, who was amazing as Charles Guiteau in the Menier\u2019s Assassins a few years ago. His Tevye is sarcastic and cynical, which helps his humor come across. In his first big song, \u201cIf I Were A Rich Man\u201d, he tries to make this overdone classic his own, with the daba deeba deeba da\u2019s instead becoming grunts of pain as he rubs his strained forearms. I appreciated this change, not only because I do the same thing after I use battle ropes, but because it is hard to make any aspect of Tevye different after so many years and so many incarnations. I didn\u2019t love the ugh oohs instead of the daba deebas but I loved that they tried something different. Being so close to Tevye in his moments of internal soliloquy made his impossible struggle to do right by his daughters and by his religion\u2019s traditions more understandable than ever. His precarious perch between the paths he can choose, which he compares to that of a fiddler on the roof (you knew why it was called that, right?) is conveyed with such emotional depth. Even when he makes decisions you think are wrong, it\u2019s difficult to really say that he\u2019s wrong when you know how impossible his position seems to him.

The three main daughters (sorry Bielke and Spritze, but you will get your Susan B. Anthony in the annals of history when I eventually name two small dogs after you) were all a pleasant surprise. I was distracted for the entire first half because I would have bet my life that Chava (Kirsty MacLaren) was played by the actress who played Tanna on Gilmore Girls, but alas, it was not, so it\u2019s a good thing no one took that bet. Along with Molly Osbourne\u2019s Tzeitel and Harriet Bunton\u2019s Hodel, all three daughters were wonderful. Even though Tzeitel seems like the main one, she doesn\u2019t actually get much to do after \u201cMatchmaker\u201d, yet she made her mark. Bunton\u2019s \u201cFar From the Home I Love\u201d was beautiful. Their male counterparts were great too, so great that Husbo and I decided that one of our future dogs will also be named The Tailor Motel Kamzoil (yes, in full). I have to give Stewart Clarke props for opening Act II with one of the worst songs in the musical theatre, let alone one given the crucial role of opening a second act. \u201cNow I Have Everything\u201d is like the even more awkward version of the end of Javert\u2019s \u201cSoliloquy\u201d you know when it sounds like he hits the wrong note at the end, before it resolves? but for an entire song. That\u2019s \u201cNow I Have Everything\u201d. It\u2019s honestly mean to make actors sing this song, but Clarke\u2019s Perchik did as great a job as is possible.<\/p>\n\n\n\n

One of the best parts of knowing a show so well is being able to appreciate the tiny things they do differently. Considering how many productions of Fiddler I\u2019ve seen, I can\u2019t believe this was the first to have the mamas, in their verse in \u201cTradition\u201d, actually whisper when they sing \u201ca quiet home\u201d (as in \u201cwho must know the way to make a proper home, a quiet home, a kosher home\u201d). It\u2019s so obvious! How has no one done that? It was adorable. Also the sons\u2019 verse made me laugh harder than ever when they end their intro with \u201cI hear they\u2019ve picked a bride for me, I hope…(super long pause)…she\u2019s pretty.\u201d It\u2019s such a bad line and so awkward but I LOVE IT. 

In the whole three hours, there were only a few drawbacks. With a rather small company and tiny space, \u201cL\u2019Chaim\u201d didn\u2019t have the verve it usually has. While still great, it wasn\u2019t a showstopper with its usual energy. On the other hand (as Tevye would say), this size and space let the wedding scene feel more present and real. \u201cChavaleh\u201d was insanely heartbreaking because it\u2019s impossible for it not to be, but Chava wasn\u2019t onstage during it, so Tevye was just singing to himself. I\u2019ve been destroyed by productions that have decided to have Chava dancing during the song, as an apparition of Tevye\u2019s memory. I mean it was nice to just cry and not screamcry for a change, but there\u2019s a small missed opportunity there. My only other issue was with Yente. Oy. Yente is hilarious as written (like so much of the show, surprising every time), so it\u2019s hard to mess her up and easy to make her even funnier with a strong comic actress. This Yente was not a strong comic actress. There\u2019s so much potential handed on a silver platter and she didn\u2019t do anything with it. To quote Ross, \u201cit took her what, like, what, uh, I don\u2019t know, ahh, ughh, a WEEK? to get out a sentence?\u201d \u201cYeah it\u2019s annoying, isn\u2019t it.\u201d

But otherwise everything was wonderful and a powerful reminder, as always, that it\u2019s still sadly relevant for us today. At the end, when the inhabitants of Anatevka march out of the town and out of the theatre, they had them secretly circle back through one of the houses so it made it seem like an endless trek of people. It was an effective way to get me even angrier at anyone who supports a government that turns away refugees. I was looking around at that audience through my tears and thinking \u2018any of you who are crying and applauding who also voted for Brexit or harsher immigration laws are utter jackwagons.\u2019 What can I say, no one was on their phone so I had unused anger at the ready. Anyway, Harnick and Bock are absolute geniuses and I love their damn show so forking much.  <\/p>\n\n\n\n

INFORMATION<\/strong>
The show runs 3 hours, always. Some productions are technically 2 hours 55 minutes, some are 3 and 5, it\u2019s all roughly 3 hours and so is this one. I didn\u2019t realize that when I was in it in high school so like all those parents watching their kids do 5 shows in a weekend really deserve medals. At least our Tevye was amazing; I cannot imagine what it is like to see a scrawny little white waspy tween whose voice hasn\u2019t settled yet play Tevye like they have at so many other schools.<\/p>\n\n\n\n

It was recently announced that this production will be transferring to the West End, giving you plenty of time to see it. Mazel!<\/p>\n","protected":false},"excerpt":{"rendered":"

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