Tradition! Entering its exciting third season, The Electric Company Theatre (The Muckenthaler Cultural Center’s resident theater) brings the beloved and Tony Award-winning Fiddler on the Roof to its stage, and ECT’s interpretation of this enthusiastic and classic tale is profoundly moving, highly creative, vibrant, and surprisingly funny. It also has an unpretentious way of pulling on one’s heartstrings because of its relevance and relatability. While the setting is the early 1900s, it is a time when momentous changes are happening. Isn’t that what the evolution of life decides for us all, anyway?

Modernization! Who needs it? Evidently, we all do, but try to tell it to the wise old folks who know nothing except tried-and-true customs and solid traditions that have been with them since the dawn of time. They, and many before them, have no room for scandalously modern ideas, nor are they interested in challenging time-honored customs that they cling to even in times of sorrow; however, there is the more obvious change coming – Russia’s persecutions and pogroms.

This play is many things, some truly relatable – perhaps, some not, but what is most influential is Fiddler’s homage to Jewish resilience, no matter what life throws at them. Remaining faithful to the story of the philosophical and poor Jewish dairy farmer, Tevye, his wife, Golde, and his five (Yes, five!) daughters. Fiddler on the Roof is a snippet of life in the small Russian town of Anatevka, whose people are deeply rooted in the orthodox ways of what they have always known. What makes this rendition of this treasured musical so different from all the other interpretations out there?

The audience is here – in Anatevka. ECT’s innovative team created a way to bring the viewers to the fictional town of Anatevka instead of bringing the show to the viewers. In other words, this production is ingeniously interactive, and the audience becomes very much a part of this intimate village’s people. Rebecca McBride, the talented violinist, sets the stage as the solo fiddler, and once the Prologue sounds, the world, as the viewers know it, zooms in on the tiny village. The fourth wall comes down right away, and the entire performance is in the round. Actors and musicians are peppered in throughout the circle, and these unbelievably multi-talented actors/singers/dancers/musicians join together onstage as the story unfolds.

The show is performed outdoors under the lush trees of the Muck’s Cultural Center, and for just a few hours in time, the viewers get lost in the moment; there are no intruders on the outside looking in, and the audience is part of this intimate inner circle, and everyone knows everyone. It is just the way it is. It is Tevye’s world. It is Anatevka.

Brilliantly Directed by the Co-Artistic Director of The Electric Company Theatre, Brian Johnson also takes on the protagonist role in this stunning production, and his performance is superb in all respects. From his wool cap, prayer shawl, and boots, he most definitely looks the part. Morphing into Tevye, he can make you laugh hysterically with Tevye’s antidotes or tear your heart out with fatherly wisdom. Seeking answers from God, his soliloquies are spoken to the audience as Tevye looks upward to the sky. From his first few bars of “Tradition,” it is easy to tell that Johnson is also a talented vocalist. Johnson finds the key to what makes Tevye tick by balancing the “gruff and tough” guy in control with his gentle, caring side, which he tries so desperately to keep hidden.

Here are a few words by Johnson, “…I’m not quite sure how to put into words what this story, this musical, and this character (Tevye) means to me as I’ve revisited his story throughout the different stages of my life. I’ve found new insight into his complexity and universality.” He goes on to say, “… I’ve never been a part of a production of Fiddler (and I’ve been in or directed this show seven times) that had a company of less than 30 people. But I wanted to strip this down to just what it is: a community story told by a community.”

This transparency and “new” version of the fiddler is part of what makes ECT’s production so memorable and so special. Along with Johnson’s vitality and exuberance, the rest of the cast members take the lead from Johnson and fill their characters with enthusiasm and an incomparable passion that shines through as each actor takes to the stage. Wesley Chavez portrays Lazar Wolf/Fruma Sarah with gusto.

As Tevye’s wife, Golde, Renee Curtis gives Tevye a run for his money as the Jewish wife and mother who keeps everything running as smoothly as possible – as mothers and wives often do. Golde is sassy and smart, has five daughters on her hands, and has been by her husband’s side for 25 years. Curtis is also a powerhouse songbird. Tevye and Golde’s touching duet, “Do You Love Me?” is filled with sweet emotion and sentiment, proving how well their characters complement each other. Johnson’s well-known “If I Were a Rich Man” has folks practically singing along.

If you know the story, you may see this exciting show in a new light; and if, on the other hand, if you are not familiar with The Fiddler on the Roof, you will be extremely entertained while noticing a family’s generational differences that never seem to close that generation gap, no matter what the era and many actors play dual roles.

Andrea Dodson Ewing is a wonderful vocalist who also portrays two ends of the age spectrum – a daughter and a grandmother as Tzeitel/Grandma Tzeitel, and she is great in both parts.

Mel Domingo brings the beautiful sounds of the cello to the musical, and she also stars in the role of Shaindel.

Bobby Gonzalez puts his best foot forward as the Rabbi and Constable. Ron Gutterman is Motel, who is easy to like, and the Russian, who is easy to dislike. Gutterman does well in both parts. As Motel, he is determined and eager to begin his life with a new bride.

David Hamann is great in his role as Seller/Accordion.

Gavin Hamze’s character is Mendel/Sasha. Hamze proves that he has what it takes to make both characters shine.

Miles Henry is Perchik/Nahum. He is great in both roles, and his Perchik is especially good.

Rayanne Thorn Krueger portrays a wonderfully convincing and perfectly meddlesome matchmaker, Yente, and also the Priest.

Wyatt Logan’s characters are Fyedka/1st Man, and he is perfect in these roles.

Natalie Oga shines as Bielke/Russian and is also one of the Bottle Dancers. Along with her fellow Bottle Dancers, she gets rousing applause for the athletic feats of the Bottle Dance.

Aimee Ordaz aptly portrays Chava/Russian.

Michael Reehl’s character is Mordcha, also a winning Bottle Dancer, and his portrayal of Mordcha is very well done.

Josh Rodriguez-Irons shines as Yussel, and his wonderful talents on the violin help to make this musical shine.

Julian Rymer portrays Avram, and he also plays the clarinet like an angel. His tone and intonation are beautiful and extremely well-received.

Karen Rymar will replace Rayanne Thorn Krueger as Yente/Priest at a later date.

Lindsey VanGerpen is the perfect Hodel/Russian, and Camille Vargas rounds out the company with her Shprintze/Russian/Bottle Dancer accomplishments.

Julian Rymar is a cast member, but he is also the talented Orchestra Director. With orchestrations by Greg Haake, this small but full-bodied orchestra is an integral component of ECT’s Fiddler on the Roof, and these uber-talented musicians bring life and excitement to every song – every musical phrase – every note. Song highlights are: “Tradition” featuring Tevye and Company, “Matchmaker, Matchmaker” with Tzietel, Hodel, Chava, and Shprintz, “To Life” featuring Tevye, Lazar Wolf, Sasha and Company, “Do You Love Me?” with Tevye and Golde, and lastly, “Anatevka” with the Full Company. As Tevye looks to the sky one last time, he sends up a kiss in gratitude, and we, the townspeople, know it is also meant for all of us. ECT’s interpretation of Fiddler is one of the most stirring and creative works of theater art ever to cross its stage.

Book by Joseph Stein; Music by Jerry Bock; Lyrics by Sheldon Harnick; Original Production Directed and Choreographed by Jerome Robbins; Based on Sholem Aleichem’s stories, by special permission of Arnold Perl.

The production staff includes Director Brian Johnson; Stage Manager Jordan Jones; Intimacy Coordination by Callie Prendiville Johnson (also the Co-Artistic Director of The Electric Company Theatre); Orchestrations by Greg Haake; Orchestration Director Julian Rymar; Choreography by Emily Taylor; Lighting Design by Matt Mankiewicz; Costume Design by Tana Carmichael; Wigs and Beards by Kat Scott; Scenic Design by Brian Johnson; and Vocal Direction by Vicki Schindele.

Fiddler on the Roof is the first play in The Electric Company Theatre’s 13th season and runs through March 6, 2024. The rest of the docket will include The Road to Oz, The Heart of Robin Hood, and finishing the season with the hilarious comedy Much Ado About Nothing.

The Electric Company Theatre at The Muckenthaler Cultural Center
1201 E Malvern Avenue, Fullerton, CA 92831
Website: http://www.electriccompanytheatre.org

PLEASE NOTE that it is still winter, and the evening air can be quite chilly. You will need to bundle up, dress warm, bring a blanket, and perhaps enjoy a warm cup of Apple Cider from the ECT’s outdoor bar. If it rains, Fiddler on the Roof will be moved indoors.