Pessimistic, but true: Fiddler on the roof in Oslo
Fiddler on the roof in Oslo
Review by Torkil Baden
. Photos Erik Aavarsmark
The new production features the klezmer band on stage and hits the audience hard with a new directness.
Musical by Joseph Stein (book), Sheldon Harnick (song lyrics) and Jerry Bock (music)
Norwegian text: Hartvig Kiran
World premiere Broadway 1964 with Jerome Robbins as director and choreographer.
Premiere Det Norske Teatret (The Norwegian Theatre) March 26th 2014
Director: Erik Ulfsby
Musical direction and arranger: Atle Halstensen
Sets: Nora Furuholmen
Costumes: Ane Ledang Aasheim
Choreography: Belinda Braza
Lighting: Ola Bråten
Cast:
Tevje: Pål Christian Eggen
Golde: Herborg Kråkevik
Daughters: Ingeborg S. Raustøl, Heidi Ruud Ellingsen and others
With: Niklas Gundersen, Paul Åge Johanessen and others
OSLO/NORWAY: This fifty year old story, from 1964, which takes place in 1905, is fundamentally timeless. Oppression of minorities with a rich culture takes place constantly around the world, and even the development at Crim is related to that. “Fiddler on the Roof” is a good example of a musical that takes you beyond entertainment.
The Norwegian audience has great expectations to a new production of this musical classic. They have good memories of several productions at this same theater, in several other Norwegian cities and most recently at Oslo Nye Teater (New Theatre) .
Eurovision champion Alexander Rybak was on stage last time, expanding his fiddler part – the Chagall image of playing on the rooftop and keeping balance in sticking to tradition.
Atle Halstensen was musical director also seven years ago. Through several different productions in the last years he has developed his conception of musicians on stage and mixed with the cast.
This time this original music director and arranger has transformed the soundscape from the big Broadway original into a rough, folkloric sound. The nine piece band is on stage playing everything by heart. They are integrated in the cast, giving a striking directness. The instrumentation is congenial klezmer, and the versatile musicians lift the production.
Direction
This time the director of the house himself, Erik Ulfsby, has left his office desk, picking up his earlier and successful grip on musical direction (Jungle Book, Jesus Christ Superstar). He has been used to team up with choreographer Belinda Braza, and the result is a tight and hard hitting production.
The director’s conception is a minimalistic set with the village houses like transparent constructions, thin like matches
. This creates a fluent style with seamless transitions through the stage, focusing on the personalities. There are some visual feasts like the nightmare about the future sons-in-law, and ghosts fly effectively through the air
. The Russian persecution of the Jewish community includes live burning houses
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Tevje the milkman is always the heart of a Fiddler-production. Pål Christian Eggen fills the stage with a wonderful baritone, with humour and tragedy. During the coming months he will probably loosen up and give more details to his personality.
Also the many other demanding characters, not least Herborg Kråkevik as the wife, are on high level in acting and singing. But there has been other productions that are more choreographically challenging.
We are moved by the story of the vulnerable society
. The finale is effectfully tragic and naked, with the stage abandoned and the future uncertain.
Pessimistic, but true.