“Fiddler On The Roof” – 6^th February 2014

One of the biggest shows on television of the 1970s was Starsky and Hutch. In music teenage girls had the choice between Donny Osmond and David Cassidy and in this police drama they could either favour the blond ( later chart-topping), blue-eyed David Soul  or the darker, more serious Paul Michael Glaser. My wife’s teenage self was fervently in the latter group. Along with the late Pete Duell he saw her through the stressful teenage years.

Fast forward 30 plus years and her face on Christmas Day when she realised her former heartthrob was not only touring in one of her favourite musicals but was coming to Cardiff, was a picture. 

Even that didn’t match the delight when he actually appeared, receiving an old-fashioned round of applause from an audience that made this 50 something feel young. “Fiddler On The Roof” is one of the great musicals. Over 50 years ago this year Zero Mostel created the role of Tevya, a poor Jewish milkman in Russia at the turn of the 20^th century.

For me there are few better musical openings than “Tradition”. In this one number Jerry Bock and Sheldon Harnick explain Jewish life, past and present, although in Tevye’s eyes both should be the same.  Life, however is constantly changing and his first challenge comes from his oldest daughter, Tzeitel who wants to marry Motel the tailor for love rather than Laser Wolf for money and prestige. Whilst he comes to accept this arrangement he struggles to cope with his other daughters marrying a revolutionary student and then a Cossack.

This is a serious, heavy subject but the writing looks for the humour and the humanity in these situations. Here, Paul Michael Glaser comes into his own.  Amazingly, he played Perchick in the 1971 film, though he now looks like the perfect Tevya. He has always had a talent for light comedy and this quickly comes to the fore as he brings Tevye to life battling to come to grips as life changes around her. Unusually for musicals these are real people in real-life situations, so director Craig Revel Horwood needs actors who can sing. Also, in these days of budgeting restraints it is not possible to have a band so he prefers performers who can actually play instruments as well, a choice he made when we saw his “Chess”  a few years ago.

This made for a even more exciting evening with one of the highlights being Jon Trenchard’s version of “Miracle of Miracles” where he played his instrument in what shouls have been his singing breath break.

The ending is one of the most heart-breaking in musical theatre but in keeping with the Jewish philosophy they ultimately refused to be defeated and soon determined to try and remain upbeat.

Having seen and enjoyed “ Topel’s” Tevye revival in the West End in the early 1980’s I believe I loved this show more, or that may just have been watching my wife’s face as her younger self’s pin-up proved to be a great musical star.

This show is a triumph. If you have a chance to watch it on its national tour go. You won’t be disappointed.