'Fiddler' shines on stage

Director William Pullinsi's rendition of the classic "Fiddler on the Roof" is a hit at Theatre at the Center in Munster. A tale of family, tradition and the struggle of Jewish people living in Russia as the revolution began, writer Joseph Stein's "Fiddler on the Roof" is as poignant and beautiful as when it premiered on Broadway in 1964.

As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."

Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.

According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.

Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.

For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."

Originally published in The Chronicle in February 2007 as JadeLee Culberson