The complicated and contentious situation in the world today is a perfect backdrop for a brilliant, heartfelt production of “Fiddler on the Roof.” Last weekend, The Pagosa Springs Center for the Arts opened a seamless, bittersweet rendering of the evergreen musical. “Fiddler” runs through August in repertory with two other shows: “Come from Away” and “Company.” Find a way to see them all.
By now, “Fiddler” is firmly situated in the American canon of great musicals. Created by Joseph Stein (book), Jerry Bock (music) and Sheldon Harnick (lyrics), the work opened on Broadway in 1964 and ran for 3,242 performances. Its success led to the 1971 film, which earned eight Oscar nominations, and has run in revival continuously ever since, here and abroad, translated into many languages, and also birthing a Yiddish-language version directed by Joel Grey in 2018.
Based on the short stories of Sholom Aleichem (the pen name of Soloman Naumovich Rabinovich, 1859-1916), the musical centers on Tevye (the brave, befuddled and charming Tim Moore), a dairyman in a small Eastern European village in the early 20th century. Throughout, Tevye faces significant disruptions – of family, friends and a beloved, predictable way of life because of an imminent Russian pogrom.
“Tradition,” the title of the spirited opening number, introduces the entire village and sets a jubilant tone. It also signals the underlying conflict between old ways, norms and values and the blunt drive of change.
Director and choreographer Pia Wyatt smartly threads villagers in and out of intimate and communal scenes. Wyatt employs fluid blocking that works as if playing in the round. Yet, when Tevye converses with God or when he plunges into beguiling inner dialogues, he has a place and a spotlight. When the cast spontaneously shifts from simple movement into dance, it flows organically.
Credit Music Director Sloane Artis for clarifying the emotional tone of every song, easily merging solos with ensemble singing, and generally infusing the work with exuberance.
Credit the technical team – scenic designer JD Madsen, lighting Mackenzie Lowe and costumer Nicole M. Harrison – for mastering the illusion of an agricultural village brimming with interiors, exteriors and fields full of sunflowers. A simple wood-textured wall serves as the beloved village, Anatevka. Masterful lighting and minimal props create ceremonial suppers, pub arguments and a spectacular wedding. Costumes ranging from babushkas to prayer shawls give the rural villagers and the Russian Army regulars the look of authenticity.
The 21-member-cast is a village of its own and ably performs with a recorded soundtrack. At the center of it all, Moore’s Tevye sits, stands, argues, cajoles and celebrates life. His deep love for family and community rings through every scene.
Judith Reynolds is an arts journalist and member of the American Theatre Critics Association.