Strong, full-bodied ‘Fiddler’ at Vanguard

Tom Titus

When Vanguard University elected to stage the musical “Fiddler on the

Roof,” artistic directors were faced with two choices -- downsize the

show to fit the limited dimensions of the Lyceum Theater stage or

“upsize” the stage.

Thankfully, they picked the latter option, and Vanguard’s

“Fiddler” has emerged as a powerful, full-bodied production that

impresses in its musical and dramatic areas. The stage still isn’t

really large enough to hold it, but in a show this wonderfully

realized, a limited environment doesn’t really matter all that much.

Director Carey Curtis Smith, who has reproduced the original

choreography from the Tony-winning 1964 Broadway production, simply

makes it fit, and scenic designer Tim Mueller meets the logistical

challenge head on. The circular exodus of the villagers at the close

of the show appears to be the only visual casualty.

Smith has elicited some superb interpretations from his mostly

student cast, beginning with Tim Larson’s richly robust portrayal of

Tevye, the downtrodden dairyman father of five daughters -- three of

whom leave the nest in markedly contrasting styles during the show.

Larson embellishes his one-on-one relationship with the almighty,

and rages convincingly as his parental authority gradually ebbs.

Ronnie Hamilton is a splendid Golde, his long-suffering wife who

knows when to exert her influence and when to effect a strategic

withdrawal. She and Larson overcome the problems of physical youth to

render beautifully satisfying performances.

The three eldest daughters -- Sarah Grandpre, Tammy Joelle Coffin

and Laura Manchester -- blossom wonderfully as they savor the first

thrusts of romance. Coffin particularly is heart-wrenchingly

effective as she leaves her family, perhaps forever, to be with her

imprisoned lover, singing the poignant solo “Far From the Home I

Love.”

Their suitors -- Paul Hanegan, Steve Limones and Matt Grandpre --

are equally effective, though Limones hits his radical stride a bit

too early for complete believability. Grandpre delivers the most

accomplished portrayal, and is one of the few cast members to attempt

a credible Russian accent.

Hanegan and Sarah Grandpre share one of the show’s most tender

moments when, after gaining Tevye’s blessing for their marriage, they

exult in the joyous “Miracle of Miracles” number.

Chrissy Tiholiz as the chatty matchmaker Yente and Fred Ingels as

the aging butcher seeking Tevye’s oldest daughter in matrimony

contribute splendidly realized character performances, as does Mike

Bowers as the doddering rabbi. Jack Clark’s commanding, but caring

constable anchors the “outside forces,” which eventually prevail.

Ensemble numbers are nicely adapted for the Lyceum’s limited

dimensions. The spirited “To Life” celebration gains momentum from

its intimacy and Smith’s imaginative choreography. The elaborate

dream sequence makes only one concession -- the spectral Fruma Sarah

appears as a rear projection rather than a gigantic onstage visitor.

Mueller’s ultimately detachable setting is rich in atmosphere,

strikingly well lighted by Dan Volonte. Lia Hansen’s peasant costumes

lend authenticity, and the live orchestra conducted by Joshua Wong is

a superb mood-establishing force.

“Fiddler on the Roof” is among the treasures of the American

musical theater, and Vanguard University delivers a rousing,

beautifully realized production. One piece of advice: Arrive early,

since “Miracle of Miracles” also describes the chance of finding a

decent parking space on campus.

* TOM TITUS’ reviews run Thursdays and Saturdays.