Coming to Gozo at the end of the month, Fiddler on the Roof is a classic musical based on the screenplay by Joseph Stein which was in turn based on stories told by the Yiddish author Sholem Aleichem in the late 19th and early 20th centuries. With music by Jerry Bock and lyrics by Sheldon Harnick, it transports the audience to East Europe and over the border into the Imperial Russia of 1905, to a small village in which convention is key, the glue which holds each day together and guides families and behaviour.
The story revolves around a decent man, Tevye, a poor philosophical milkman in the fictional village of Anatevka in tsarist Russia (Mark Tonna), his sharp-witted and loving wife Golde, played by Pia Zammit whose rich stage presence and comedic timing add depth and charm to this beloved character, and their five daughters, three of whom are old enough to marry.
Taking on the role of Tevye’s eldest daughter, Lisa Baldacchino brings her extensive stage experience and operatic training to the character of Tzeitel with a compelling portrayal. Tevye’s spirited second daughter is another familiar face at Teatru Astra, as both a singer and a dancer, her choreography expertise leading the ensemble’s performance. The company also welcome Nina Galea as Chava, Tevye’s introspective third daughter. At just 20 years old, this is her first principal role and Galea is set to deliver a breakout performance.
We may think that life stayed the same for centuries and it is only in recent decades that the world around us changes rapidly, but it’s a timeless concern: affable Tevye struggles to adapt an uncertain future as social mores and religious traditions crumble around him. The eponymous fiddler embodying the heart and soul of these traditions and the finely-balanced situation without which the lives of Jews ‘would be as shaky as a fiddler on the roof.’ This iconic role is played by George Curmi, locally known as il-Puse, who adds a touch of mystique and musicality.
The situation is precarious: life in the village is lived against a backdrop of ethnic tension, the Pogroms, political unrest and the mass exodus of Jews from their land, and these issues touch the family. There’s love, family drama and a growing sorrow which reflects the way that both family dynamics and history unfolded for Jewish villagers a century ago. As each daughter challenges Tevye’s expectations in a different ways, this musical explores themes of tradition, family, and resilience; and a minor key infuses the show with a gentle melancholy.
Historically, this portrayal of cultural perseverance amid hardship was significant in bringing Jewish culture and Eastern European ‘shtetl’ life to mainstream audiences. At a time when assimilation was a growing trend among American Jews, the musical resonated deeply, reminding audiences of their roots and the struggles of their ancestors. Its universal themes of endurance, change, generational conflict, and forced migration, also connected with audiences from other diaspora, like the NY Maltese who found themselves far from home.
This musical may not end with a flamboyant finale but Fiddler on the Roof has been enduringly popular since it was first performed in 1964: with song classics including If I Were a Rich Man, it’s the winner of nine Tony Awards, was adapted into the famous film of the same name (1971) and is the 60th longest-running show in Broadway history. New York’s Broadway is rather a trek wo we’re very lucky to have the chance to see it at the Astra Theatre later this month.
Directed by Christopher Gatt, who is known for his visionary approach to theatre and attention to detail, with musical direction by George Apap, choreography by Francesco Nicodeme, vocal coaching by Cathy Lawlor, Sylvana Attard guiding the choir, it promises to be a moving and magical performance.
There will be four performances of Fiddler on the Roof at Teatru Astra on March 22, 23, 29 and 30.
