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on stage
Coachlight's 'Fiddler a successful salute to immigrants By Madelon. Joyce Rosen . Anyone who has ancestry that can be traced back to immigrant roots (which is probably a good portion of the population of this country) has heard stories of "the crossing" and of "the other side". Grandparents impressing their children with stories of pogroms in Poland: Holocaust vietims talking of pleasanter times in Europe and.the ensuing nightmare: older immigrant groups referring to life in Ireland and Italy ... the list of countries, cultures and nationalities are endless. But although the cultures and names may change, the experience is largely the same, as is the ensuing socialization of the offspring of these courageous people. Within this framework, it is easy to understand the popularity of Fiddler On the Roof. Even without the beautiful sS re by Jerry Bock and Sheldon Harníek or the story populated with inter· estíng characters, it would be hard to fail with a vehicle like this. Nevertheless, there is such a thing as overkill and Fiddler, one of the longest running Broadway musicals, eventually faded from the scene. The musical returned in the form of a/ horrendous picture directed with pure schmaltz by Norman Jewison and star-ring Israeli actor Topöl instead of Zero Mostel, the man who literally was Tevye. Now Fiddler On the Roof has
returned, completely restored to its proper simplicity and eloquenœ at the Coachlíght Dinner Theatre in Nanuet. Starring Theodore Bike! as the famous milkman, Tevye, this show is literally one of the best dinner theatre productions I have ever seen. Loosely based upon Yiddish writer Sholem Aleichem's stories of Jewish shtetl life in Russia, fidde:r On the Roof is a simple tale of simple people. Content to live among themselves and to continue the "tradition" that their forefathers had maintained, these people suddenly wake up one day to discover a changing world that will no longer leave them alone. The one danger a production of fiddler always runs is that shrill melodramatics and ethnic pathos piled on in heavy doses. With a remarkably light touch, director Jay Harnick (the lyricist's brother) manages to avoid the usual pitfalls and gives us an engaging, charming and simple production. Tevye's philosophical asides ro the audience are not laden down. with heavy Yiddish exclamations: rather they are quick, sharp and delivered . in a more direct and un-stereotyped manner. A great deal of the show's success also rests with the star. Theodore Bíkel's Tevye, like Mostel's, is wise and trusting and yet at · times stubborn and oldfashioned. He is quick-witted and
the heads and the necessary horas: but the dancers move with a grace and agility that many forefathers in Russia probably pever had. "' Strong numbers of the show, "Tradition" and "To Life", both were filled with enthusiasm. (continued on page 26)
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But Cynthia Sophíea as the daughter Tzeítel is disappointing, neither possessing a good voice or especially gifted acting skills. Marilyn Cooper's · Yentah is funny if, at times, a little shallow. The rest of the cast, including the dancers, are all first rate. By · the way, according to the program notes, many of the people in this . production have toured with Bíkel sometime in the past (he has done Tevye throughout the country). The
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Woodwind Concert... (continued from page 21) experience includes playing with the Grand Opera. of New York, the Carramoor Festival, the Chamber Music Society of Lincoln. Center and the Mostly Mozart Orchestra .. Rkhard &11;en studied french horn at Montclair' State College. Professional credits include the 92nd Street7 "Y" Orchestra, the White Mountains Festival Orchestra and many others. Wendy Large, bassoonist, holds both a Bachelor's and Master's Degree in Music from the Eastman School of · Music. She has extensive experience, including one season with the American
great ensemble playing índíeates the benefit in working .with familiar faœs. \ J Entertaining choreography · by Jay Grimes makes excellent use of the Coachlíght stage and provides a good time, even if the originality is lacking. There are the usual dances with bottles on
at home in the old-world tradition of the European Jew. Yet Bíkel gives an even lighter, more lively Tevye than Mostel and is perhaps the best person I have seen portray the role outside of the famous actor, who created it. However, Bikel doesn't stand alone on the stage. He is backed by a supporting cast that are all professionals. Thelma Lee as Golde, Tevye's wife, is the perfect foil for Bikel's expert timing. Her Golde is firm yet dedicated to the man she loves. Irwin. Pearl, as the tailor Motel, is hilarious as he stammers and stumbles his way across the stage, proving himself to be a comedian of great potential. Gail Johnston as Tevye's daughter, Hodel, is a pleasure to watch. Her vocal abilities outweighing her vast amount of charm.
wind Symphony, two summers at the Tanglewood Festival, and two summers at . the Waterloo Festival in New Jersey. In additíon, she is currently a member of the Savannah Symphony. Their program will .include works by Bach, Hendel, Mozart, Gershwin, Joplin, Sousa and others. This concert is sponsored by the City of New York, Edward I. Koch, Mayor, through the Department of Cultural Affairs, Henry. Geldzahler, Commissioner: i.n cooperation with The. Carnegíe Hall Corporation. Free tickets for this outstanding concert' will be available at the Library starting Saturday, March l.
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