Fiddler on the Roof
Edison Theatre

Showtimes: Nov. 4, 5 at 8 p.m., Nov. 6 at 2 p.m.
Tickets: $9-$15 for students, Edison Theatre box office
(314) 935-6543

Tradition. The tradition of theatrical excellence drives the show “Fiddler on the Roof,” directed by Jeffery Matthews, from the opening monologue to the last heart-wrenching scene.

The classic musical brings to life the village of Anatevka and its colorful characters through the many outstanding performers and an impressive stage set. The cast’s hard work was evident in their spot-on Yiddish accents and the easily differentiable characters. Each character, from the soliloquy-spouting milkman to the constantly chattering matchmaker, adds a new dimension to Anatevka’s problem of maintaining tradition in a quickly modernizing world.

Not all of the actors used Yiddish accents, but those who did were amazing and added an air of reality to a play very much removed from our time. The male lead of Tevye, played by sophomore David Weiss, made many personal connections with the audience as he stood addressing, and sometimes having rather one-sided conversations with God. They where poignant, realistic and very well acted, especially considering he had no one to act opposite him. Weiss’s mannerisms resonated in the mind of the audience, and many people left the theater also wishing they were “a wealthy man.”

Possibly the most impressionistic character in the play was one who never spoke. The actual fiddler on the roof, freshman Jesse Markowitz, was astounding. His violin playing was phenomenal, and the image that he cast standing all alone atop the roofs of Anatevka was as solid as a proverbial fiddler on a roof is shaky. The profile of the fiddler on top of the house was a simple yet remarkable image for Jeffery Matthews to choose as the opening image for his play.

The fiddler’s footholds were perfectly crafted, and the details added to the set, such as the moon and stars, helped create a realistic atmosphere for the town. Between the moon, stars and the lighting for daylight and sunset, the audience was guided to realize the passage of time. The lighting especially helped the audience focus on the main characters for the scene as well as create the overall atmosphere.

The only critiques of the play had very little to do with the actual play itself. There was one wardrobe issue for Fruma-Sarah, and the pit sometimes drowned out the singers. On the whole, though, the play was flawless. This is a commendable achievement, given the words in the good book: nothing is flawless!

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