'Fiddler on the Roof' - Roleystone Theatre
Mon, 22 Nov 2004, 09:25 pmTyler Jones1 post in thread
'Fiddler on the Roof' - Roleystone Theatre
Mon, 22 Nov 2004, 09:25 pmThough I am a big fan of the musical Fiddler on the Roof, my experience with the show prior to my attendance at Roleystone TheatreÂ’s production on Sunday 21st of November, was via CD only. Having never witnessed a live production or even Norman JewisonÂ’s classic 1971 film treatment of the material, I was able to approach this show with an open mind.
First of all, I’ll say that I extremely enjoyed the atmosphere of the show. This was my first experience at Roleystone Theatre, and while the space indeed was a small one it promoted a sense of intimacy that greatly contributed to my evening’s enjoyment. The set design, by George Harrison, created the Russian village of Anatevka before my eyes. Painted primarily in neutral colours, most prominently grey, it provided the production with a somber feel that permeated every scene from the expositional ‘Tradition’ to the despairing finale ‘Anatevka’.
In the role of Tevye, Kim Martin deserves more praise than one critic can dish out. He brought essential dramatic gravity to the central role, as well as a flawless accent and superb comic timing. His performance alternately made my sides ache and my heart break. As Golde, Tevye’s wife, Sheila Nicholson was a pure delight for both the eyes and ears. A spectacular performer, she dramatically held her own against Martin, and together they stood at the head of a fine and talented cast. Their Act Two duet, “Do You Love Me”, was simultaneously hilarious and touching, and a hit with the audience.
Priscilla Busher as Hodel proved to me once again that she is one of the most immensely talented young women on the Perth amateur (and I use the term loosely) theatre scene. She immediately presented a sweet, cheerful and endearing character, but her performance didn’t hit its peak until Act Two, which allowed her to display her range as both an actress and a singer, with vast success in both capacities. Hodel’s big solo, “Far From the Home I Love” has never been filled with so much passion and pain. A standout performance.
Other highlights in the female cast included Anne Merrick’s entertaining and amusing Yente, and Katherine John, as Tzeitel, who presented a well-acted and likeable character, although she could have mined more comic opportunity from her big solo in ‘Matchmaker’. Sarah Bergin delivered a charming Chava, but needed to inject a little more volume into her performance.
The male cast had its strengths also, with Peter ‘Pear’ Carr and Daniel Lines faring well as Motel and Perchik respectively. Both inhabited their roles to an enjoyable degree, as did Paul Presbury as Lazar Wolfe. Andrew Kendrick performed well in the smaller role of Fyedka, but the script does not allow the love affair between him and Chava to develop as it does for Tzeitel/Motel and Hodel/Perchik. Still, Kendrick worked with what he was given and gave a very genuine performance.
Applause is also due for the ensemble, who provided the chorus numbers with so much strength and energy. Particular standouts were ‘Tradition’, the haunting ‘Sabbath Prayer’ and ‘Tevye’s Dream’. It was refreshing to encounter an assembly of non professionals with so much talent and presence.
Paul Treasure has produced a show that boasts a fantastic atmosphere, laudable cast, impressive physical production and is overall a delightful realization of the Joseph Stein/Jerry Bock/Sheldon Harnick masterpiece, which I suspect will only continue to improve with each subsequent performance. I would urge people to goÂ…but the season has sold out, with good reason. Well done, Roleystone, and I will definitely return in the future to enjoy productions hopefully possessing the same entertainment value as this pleasurable night at the theatre.
First of all, I’ll say that I extremely enjoyed the atmosphere of the show. This was my first experience at Roleystone Theatre, and while the space indeed was a small one it promoted a sense of intimacy that greatly contributed to my evening’s enjoyment. The set design, by George Harrison, created the Russian village of Anatevka before my eyes. Painted primarily in neutral colours, most prominently grey, it provided the production with a somber feel that permeated every scene from the expositional ‘Tradition’ to the despairing finale ‘Anatevka’.
In the role of Tevye, Kim Martin deserves more praise than one critic can dish out. He brought essential dramatic gravity to the central role, as well as a flawless accent and superb comic timing. His performance alternately made my sides ache and my heart break. As Golde, Tevye’s wife, Sheila Nicholson was a pure delight for both the eyes and ears. A spectacular performer, she dramatically held her own against Martin, and together they stood at the head of a fine and talented cast. Their Act Two duet, “Do You Love Me”, was simultaneously hilarious and touching, and a hit with the audience.
Priscilla Busher as Hodel proved to me once again that she is one of the most immensely talented young women on the Perth amateur (and I use the term loosely) theatre scene. She immediately presented a sweet, cheerful and endearing character, but her performance didn’t hit its peak until Act Two, which allowed her to display her range as both an actress and a singer, with vast success in both capacities. Hodel’s big solo, “Far From the Home I Love” has never been filled with so much passion and pain. A standout performance.
Other highlights in the female cast included Anne Merrick’s entertaining and amusing Yente, and Katherine John, as Tzeitel, who presented a well-acted and likeable character, although she could have mined more comic opportunity from her big solo in ‘Matchmaker’. Sarah Bergin delivered a charming Chava, but needed to inject a little more volume into her performance.
The male cast had its strengths also, with Peter ‘Pear’ Carr and Daniel Lines faring well as Motel and Perchik respectively. Both inhabited their roles to an enjoyable degree, as did Paul Presbury as Lazar Wolfe. Andrew Kendrick performed well in the smaller role of Fyedka, but the script does not allow the love affair between him and Chava to develop as it does for Tzeitel/Motel and Hodel/Perchik. Still, Kendrick worked with what he was given and gave a very genuine performance.
Applause is also due for the ensemble, who provided the chorus numbers with so much strength and energy. Particular standouts were ‘Tradition’, the haunting ‘Sabbath Prayer’ and ‘Tevye’s Dream’. It was refreshing to encounter an assembly of non professionals with so much talent and presence.
Paul Treasure has produced a show that boasts a fantastic atmosphere, laudable cast, impressive physical production and is overall a delightful realization of the Joseph Stein/Jerry Bock/Sheldon Harnick masterpiece, which I suspect will only continue to improve with each subsequent performance. I would urge people to goÂ…but the season has sold out, with good reason. Well done, Roleystone, and I will definitely return in the future to enjoy productions hopefully possessing the same entertainment value as this pleasurable night at the theatre.
Tyler JonesMon, 22 Nov 2004, 09:25 pm
Though I am a big fan of the musical Fiddler on the Roof, my experience with the show prior to my attendance at Roleystone TheatreÂ’s production on Sunday 21st of November, was via CD only. Having never witnessed a live production or even Norman JewisonÂ’s classic 1971 film treatment of the material, I was able to approach this show with an open mind.
First of all, I’ll say that I extremely enjoyed the atmosphere of the show. This was my first experience at Roleystone Theatre, and while the space indeed was a small one it promoted a sense of intimacy that greatly contributed to my evening’s enjoyment. The set design, by George Harrison, created the Russian village of Anatevka before my eyes. Painted primarily in neutral colours, most prominently grey, it provided the production with a somber feel that permeated every scene from the expositional ‘Tradition’ to the despairing finale ‘Anatevka’.
In the role of Tevye, Kim Martin deserves more praise than one critic can dish out. He brought essential dramatic gravity to the central role, as well as a flawless accent and superb comic timing. His performance alternately made my sides ache and my heart break. As Golde, Tevye’s wife, Sheila Nicholson was a pure delight for both the eyes and ears. A spectacular performer, she dramatically held her own against Martin, and together they stood at the head of a fine and talented cast. Their Act Two duet, “Do You Love Me”, was simultaneously hilarious and touching, and a hit with the audience.
Priscilla Busher as Hodel proved to me once again that she is one of the most immensely talented young women on the Perth amateur (and I use the term loosely) theatre scene. She immediately presented a sweet, cheerful and endearing character, but her performance didn’t hit its peak until Act Two, which allowed her to display her range as both an actress and a singer, with vast success in both capacities. Hodel’s big solo, “Far From the Home I Love” has never been filled with so much passion and pain. A standout performance.
Other highlights in the female cast included Anne Merrick’s entertaining and amusing Yente, and Katherine John, as Tzeitel, who presented a well-acted and likeable character, although she could have mined more comic opportunity from her big solo in ‘Matchmaker’. Sarah Bergin delivered a charming Chava, but needed to inject a little more volume into her performance.
The male cast had its strengths also, with Peter ‘Pear’ Carr and Daniel Lines faring well as Motel and Perchik respectively. Both inhabited their roles to an enjoyable degree, as did Paul Presbury as Lazar Wolfe. Andrew Kendrick performed well in the smaller role of Fyedka, but the script does not allow the love affair between him and Chava to develop as it does for Tzeitel/Motel and Hodel/Perchik. Still, Kendrick worked with what he was given and gave a very genuine performance.
Applause is also due for the ensemble, who provided the chorus numbers with so much strength and energy. Particular standouts were ‘Tradition’, the haunting ‘Sabbath Prayer’ and ‘Tevye’s Dream’. It was refreshing to encounter an assembly of non professionals with so much talent and presence.
Paul Treasure has produced a show that boasts a fantastic atmosphere, laudable cast, impressive physical production and is overall a delightful realization of the Joseph Stein/Jerry Bock/Sheldon Harnick masterpiece, which I suspect will only continue to improve with each subsequent performance. I would urge people to goÂ…but the season has sold out, with good reason. Well done, Roleystone, and I will definitely return in the future to enjoy productions hopefully possessing the same entertainment value as this pleasurable night at the theatre.
First of all, I’ll say that I extremely enjoyed the atmosphere of the show. This was my first experience at Roleystone Theatre, and while the space indeed was a small one it promoted a sense of intimacy that greatly contributed to my evening’s enjoyment. The set design, by George Harrison, created the Russian village of Anatevka before my eyes. Painted primarily in neutral colours, most prominently grey, it provided the production with a somber feel that permeated every scene from the expositional ‘Tradition’ to the despairing finale ‘Anatevka’.
In the role of Tevye, Kim Martin deserves more praise than one critic can dish out. He brought essential dramatic gravity to the central role, as well as a flawless accent and superb comic timing. His performance alternately made my sides ache and my heart break. As Golde, Tevye’s wife, Sheila Nicholson was a pure delight for both the eyes and ears. A spectacular performer, she dramatically held her own against Martin, and together they stood at the head of a fine and talented cast. Their Act Two duet, “Do You Love Me”, was simultaneously hilarious and touching, and a hit with the audience.
Priscilla Busher as Hodel proved to me once again that she is one of the most immensely talented young women on the Perth amateur (and I use the term loosely) theatre scene. She immediately presented a sweet, cheerful and endearing character, but her performance didn’t hit its peak until Act Two, which allowed her to display her range as both an actress and a singer, with vast success in both capacities. Hodel’s big solo, “Far From the Home I Love” has never been filled with so much passion and pain. A standout performance.
Other highlights in the female cast included Anne Merrick’s entertaining and amusing Yente, and Katherine John, as Tzeitel, who presented a well-acted and likeable character, although she could have mined more comic opportunity from her big solo in ‘Matchmaker’. Sarah Bergin delivered a charming Chava, but needed to inject a little more volume into her performance.
The male cast had its strengths also, with Peter ‘Pear’ Carr and Daniel Lines faring well as Motel and Perchik respectively. Both inhabited their roles to an enjoyable degree, as did Paul Presbury as Lazar Wolfe. Andrew Kendrick performed well in the smaller role of Fyedka, but the script does not allow the love affair between him and Chava to develop as it does for Tzeitel/Motel and Hodel/Perchik. Still, Kendrick worked with what he was given and gave a very genuine performance.
Applause is also due for the ensemble, who provided the chorus numbers with so much strength and energy. Particular standouts were ‘Tradition’, the haunting ‘Sabbath Prayer’ and ‘Tevye’s Dream’. It was refreshing to encounter an assembly of non professionals with so much talent and presence.
Paul Treasure has produced a show that boasts a fantastic atmosphere, laudable cast, impressive physical production and is overall a delightful realization of the Joseph Stein/Jerry Bock/Sheldon Harnick masterpiece, which I suspect will only continue to improve with each subsequent performance. I would urge people to goÂ…but the season has sold out, with good reason. Well done, Roleystone, and I will definitely return in the future to enjoy productions hopefully possessing the same entertainment value as this pleasurable night at the theatre.