Howard Gollop
Still, the Play House production holds onto the tradition of quality, with choreographer Stas Kmiec assiduously tailoring the original 1964 choreography of Jerome Robbins (son of a Clevelander), lush musical direction by Diane Louie and intelligently simplified scenic design by Raul Abrego, unfortunately less inspired by the Jewish artist Marc Chagall, as in the original production, but still evocative in its own way.
To see a full review of this show, read Howard Gollop's review here .
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
Somehow this large company has been able to fit this colossal musical on a smaller than usual stage bringing all the excitement, drama, laughs, pathos and heart of the original. It is a truly great show that has the time flying by without nary a notice.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
Magic, beguiling fiddler, romance, song, and dance? Yes, please, thank you.
The engaging Cleveland Play House production, directed by Michael Barakiva, lights up Playhouse Square’s Allen Theatre. It makes clear why Tony Award-winning Fiddler on the Roof has remained popular since its 1964 Broadway premiere. With book by Joseph Stein, music by Jerry Bock, lyrics by Sheldon Harnick, produced by Harold Prince and choreography by Jerome Robbins, it’s an affirmation of creativity and community.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Dr. Yuko Kurahashi
Barakiva meticulously creates and maintains each moment, educing a “still picture” as the text and music suggest. Wooden cut-out motifs and multiple wings allow the stage to be seen as a page in a book or a framed painting—perhaps to pay homage to Marc Chagall’s “The Green Violinist” —which one would, some day in the future, appreciate in a gallery, library, and museum, hinting at the everlasting nature of this musical. In addition to cut-out motifs, scenic designer Raul Abrego designed and built slightly slanted houses (like those in “The Green Violinist”) along with a big central gate—beyond that point is outside of the shtetl of Anatevka. With a Star of David, this double metal gate ominously signals that the world beyond is resonant with concentration camps. On stage are benches for some audience members, and the wooden siding behind them suggests the exterior of Tevye’s humble farmhouse.
To see a full review of this show, read Yuko's posts here.
Joey Morona
“Fiddler on the Roof” is a classic not just because of its songs or its place in the musical theater canon, but because it beautifully captures the enduring challenge of balancing tradition with the need to adapt and change. Cleveland Play House has made those ideas feel as timely as ever.
To see a full review of this show, read Joey's posts here.
