Joe Urbaitis in Fiddler on the Roof
If you’re anything like me, from the moment you step into the Prospect Park Auditorium, you’ll be swept away by the stark and rickety set that is the little village of Anatevka, and the fact that the titular Fiddler is already just chilling on the roof. You might miss Josiah Wollan initially – he kind of blends in and the set is merely backlit – but his humanity emanates from time to time in small movements ... or, at least, it did at Friday’s opening-night performance of Quad City Music Guild's Fiddler on the Roof.
I commend director and set designer Jake Ladd for this first staging choice, as well as for his breathtaking, stylized set. However, the show's opening, haunting notes were an immediate letdown when it quickly became apparent the violin was being played from the pit and simply pantomimed on stage. But then, my first impression almost felt like whiplash, because after Tevye began his famous introductory monologue, the role's portrayer Joe Urbaitis proved just so dang good he made me forget to be irritated about the guy on the roof not playing an instrument.
Urbaitis’ take on Tevye is consistently wonderful throughout Ladd's whole production. I imagine when Chaim Topol’s 1971 film rendition is so readily available and widely known, finding your footing that isn’t just mimicry is a challenge. If so, Urbaitis surpassed my expectations unquestionably. Here, Urbaitis makes Tevye a smart, warm, and loving father who works hard and has excellent comedic timing. In a show that’s all about the balance between what’s always been done and how traditions are changing, Urbaitis’ strength as Tevye was most welcome.
With its book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick, Fiddler on the Roof is, of course, Tevye’s story to tell. A poor, Jewish milkman in a blink-and-you’ve-missed-it village in Ukraine, Tevye has five daughters to marry off with no dowries to speak of, and his oldest three are strong-willed and seem hell-bent on pushing the envelope and finding love their own ways. All this, plus the terror of a tzar who’s been rumored to be evicting all the Jews from other villages.
Predictably and thankfully, the show’s familiar tunes sounded amazing thanks to music director Chad Schmertmann and his assistant director Ariane Call, and the pit orchestra was spot on. I’ve said it before and I’ll say it again: They’re called Music Guild because the music in their productions is reflexively given such thoughtful care. In this Fiddler on the Roof, Urbaitis’s vocals were particularly lovely during “Tevye’s Monologue” and “Tevye’s Rebuttal,” and I especially appreciated how Ladd worked with lighting designer Ryan Mandle on these songs, directing Urbaitis to literally step into the light downstage. But Urbaitis isn’t the only cast member to enter the light and shine brightly, as Tevye's daughters Tzeitle (Sydney Greer), Hodel (Keira Bowman), and Chava (Wrigley Mancha) also captivate, especially in their big moment together with “Matchmaker.”
I loved how costume designer Deb Holmes kept the poor little town feeling authentic to 1905 Ukraine but also managed to inject a pop of color into the stage. Boasting a sizable cast, it must have been no small task to gather all the head coverings and authentic tzitzit (as Tevye explains, “little prayer shawls”) for everyone. And this large cast all being on stage together at times made the production feel, to me, overcrowded. Sure, it kind of worked for the group appearance of a poor village community, but it certainly made choreographer Christina Myatt’s job challenging. The opening “Tradition” had the cast appearing almost as wind-up dolls executing strange arm movements, which wasn’t my favorite, yet somehow this approach worked much better during “Tevye’s Dream” later in the first act.
Another questionable choreography choice was having Tommy Ratkiewicz-Stierwalt’s Motel on stage dancing during “To Life.” In case you have no idea what I'm talking about, just know that Motel would be the absolute last character to be happy and wanting to toast the impending marriage in question. I’ll say it, though: Music Guild gave me the opportunity to root for Lazar Wolf (Bill Turner) for the first time ever, because somehow, Ratkiewicz-Stierwalt managed to make Motel completely annoying for the first hour. Thankfully, his song “Miracle of Miracles” finally saw the performer chill out and portray a much more likable man for the remainder of the show.
In general, Ladd’s production lacked subtlety, and unfortunately, it sometimes veered into some over-dramatic moments. However, the show found balance anytime Zach Zelnio’s Perchik was on stage; he’s the voice of progress to Anatevka and was most enjoyable to watch. Zelnio’s strength as an actor elevated everyone he accompanied, much like Urbaitis – when the two appeared on stage together, Fiddler on the Roof was at its very best.
There’s a comforting familiarity in a classic musical, and in Ladd’s capable hands, Music Guild's latest appeared to give Friday's audience what they wanted: people to root for and beautiful music ladled on top of a few good love stories. There’s no great insight in this version, and perhaps that’s okay. While I’m happy to live on the hill where the Fiddler should actually play the violin, this presentation, overall, is every bit the traditional Fiddler on the Roof you expect. From the highest highs to the lowest lows, the show’s enduring appeal is all there.
Quad City Music Guild's Fiddler on the Roof runs at the Prospect Park Auditorium (1584 34th Avenue, Moline IL) through August 11, and more information and tickets are available by calling (309)762-6610 and visiting QCMusicGuild.com.
