Theater review: Tradition takes center stage in Good Company’s ‘Fiddler on the Roof’
By Heather Parish
Good Company Players’ most recent staging of “Fiddler on the Roof” reminds us that in a world driven toward innovation, there is comfort in the classics. Directed by Laurie Pessano, the production treads familiar ground, aiming not to reinvent but to respect the source material, achieving a well-staged, if unadventurous, rendition of the beloved musical.
Pessano’s direction shines brightest during the musical’s cornerstone moments. The direction captures Anatevka’s fragile way of life through songs like “Sabbath Prayer,” “Sunrise, Sunset,” “To Life,” and “Anatevka.” The Bottle Dance, in particular, stands out as a rousingly executed number, capturing a celebratory spirit amidst adversity. Yet, for all these high points, the production stumbles with the first act finale. What should be a jarring, disruptive moment feels underplayed, diluting the threat looming over the village.
Central to this production is Dan Pessano’s portrayal of Tevye. Pessano embodies the milkman with a familiarity and comfort that draws the audience in, particularly through the more conversational aspects of the role. When connecting with the audience, Pessano has a glint in his eye and a sly sharpness to his wit. However, this ease sometimes undercuts the gravity of the drama, as pivotal scenes feel rushed, lacking the weight they demand. While his vocal performance is commendable, there are moments when it yearns for the richness typically associated with Tevye.
The ensemble’s vocal performances are uniformly strong, with a few noteworthy standouts. Michael Fidalgo’s rendition of “Miracle of Miracles” injects an earnest energy into the middle of the first act, while Emily Pessano’s “Far from the Home I Love” showcases the deep vocal excellence found on Roger Rocka’s stage. The company-wide performance of “Sabbath Prayer” is a particular highlight, marrying vocals and staging into a memorable tableau of communal hope and prayer.
Special notice goes to Camille Gaston’s portrayal of Yente, the matchmaker. Gaston offers a refreshingly authentic interpretation, steering clear of caricature without sacrificing the character’s essence. Her performance is both a nod to the traditional and an embrace of nuanced character work, adding depth to the familiar role.
Attending a production of “Fiddler on the Roof” is often a journey through theatrical history, a reminder of the elements that have cemented the show as a classic. It feels ironic that a show about the tension between tradition and progress is so often staged the same way over and over again. Good Company Players’ production, while not venturing far into new interpretative territory, underscores the enduring appeal of tradition, even while showing there is room for some innovation. The production’s strength, however, lies in its moments of genuine connection, even if it occasionally misses the mark in delivering the dramatic heft of the narrative.
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If what you seek is a faithful rendition of a time-honored tale, this “Fiddler” delivers. It’s a reminder of the intrinsic value of the play itself, even as it plays it safe.
“Fiddler on the Roof” continues through May 12, 2024 at Roger Rocka’s Dinner Theater.
Steph
It’s tough when the critic responds more as an unfulfilled director than as a wordsmith mirror, reflecting on behalf of the hopeful Everyman attendee, rather than decrying what would have been under her directorial choices.
I have made this error too frequently myself on my own social media, where I lambaste productions because they didn’t fulfill my specific expectations or target. It’s selfish when that happens because it really only serves my needs, rather than acting as a learned advisement to others wishing to connect as a fellow attendee. In fact I’ve done this ruefully with a prominent show directed by today’s critic.
On my own social media, I can do that. 92% of the time I really shouldn’t have, but ego won out. When I’ve actually written public critiques of theatrical performances, I have to forcefully restrain and restrain myself. It’s really hard.
Topic Change: Dan Pessano practically invented Tevye (Topol who?), and if this is his actual swan song, may everyone in the Valley be sure to see it, because Dan’s Tevye has been a theatrical cornerstone of GCP since…well since forever! Mazel Tov Pessano’s. 3 generations together on the most “tradition” filled show in GCP’s storied history.
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Dan Pessano is a local treasure. Along with the many fine artists Fresno/Clovis areas have produced, we are fortunate to have such an amazing array of talent, that not only have succeded locally, but also on the international and national platforms. We are fortunate indeed!
Kristin
I have no idea what Stephen is trying to say in that word salad up there, but I completely agree with Heather. The show was beautifully sung, especially Emily, and very traditional. It hit all of the benchmarks of Fiddler and Dan is an excellent, if nonchalant, Tevye. If you want to see a traditional production of Fiddler, you should make the time for this production.
Side note: I will always make time to see Camille because she brings a groundedness to every character she portrays.
Steph
I’ll simplify.
I think Heather brings a bit too much “director” to her reviews, rather than just “reviewer” or critic. I think her expectations for what a show could have been under her choices shine through her reviews.
I have said before tho that Heather’s writing style is exemplary and she’s a great choice to be a theatre reviewer. I hope she can do more shows and even cover art showings.
There. Sorry to have my brain in “high end vocabulary” zone before. I was inspired by Heather’s intellectual breakdown.