FIDDLER ON THE ROOF   Role: Mendel (Motel u/s)   Production Info: Nov. 16, 2001 to Apr. 28, 2002 (National Tour) Director/Choreographer: Sammy Dallas Bayes Asst. Director/Choreographer: Ken Daigle Musical Director: Sheilah V. Walker

From Fall 2001 to Spring 2002, I embarked on one of my most exciting adventures yet . . . the role of “Mendel” (and understudying the role of “Motel”) on the National Tour of Fiddler on the Roof (starring Theodore Bikel). Joining the tour for its second leg (beginning in November), I criss-crossed the US from coast to coast and made the most of the whole experience . . . my birthday in New Orleans, New Years Eve in San Francisco . . . what a thrill! Beautiful costumes and sets, the history and “tradition” of the original staging and choreography, and some of the most gorgeous and opulent theatres I’ve ever seen.   Unfortunately, all good things must come to an end! My last performance with Fiddler was Sunday, April 28th in Greensboro, NC. Click to view an ITINERARY of the cities we visited.

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If I Were A Rich Man: Theodore Bikel as Tevye.

If I Were A Rich Man: Theodore Bikel as Tevye

If I Were A Rich Man: Theodore Bikel as Tevye

To Life: Theodore Bikel as Tevye with the Male Ensemble

Miracle of Miracles: Michael Iannucci as Motel and Eileen Tepper as Tzeitel

The Bottle Dance: Joe Konicki, David Enriquez, Stas’ Kmiec’ and Scott Leiendecker as the Bottle Dancers

Do You Love Me?: Susan Cella as Golde and Theodore Bikel as Tevye.

 
 

Rabbi and Son (David Masters and yours-truly) about to hop on the bus in NYC to take us off on our wild adventure!

My pal from No, No, Nanette (Amanda Ryan Paige) was a fellow Anatevkan . . . here she holds up her red hair for what she thought would be its final hurrah.

Mark Sanders (Yussel the Hatmaker) and I shared a dressing room in Seattle.

Amanda Ryan Paige (Anya) jumps behind the tarp during a show in Los Angeles to put on her microphone.

Small world: David Enriquez (Shloime the Bagel Seller) and I performed together in the European Tour of Evita! Here, he and his wig head share a moment in LA.

The dressing rooms were a little cramped in Los Angeles. Here, Rusty Mowery (Yitzuk the Knife Seller) makes a little space for himself!

When illness swept through the company in Springfield, Illinois, our Assistant Company Manager Gregg Arst tried to help by dressing up as Bizzaro Wolf, the illegitimate son of Lazar the Butcher.

David Enriquez (on as the Fiddler Understudy in Springfield) letting us know what he really thinks of Gregg’s idea.

Brad Drummer doesn’t stop working when he’s not onstage as Fyedka . . . he’s also the Company Masseuse!

Poor Motel (Michael Iannucci). He always had to watch his back walking down the stairs with ME as his understudy! HA HA HA!

David Enriquez as Shloime as the Fiddler as . . . Judy Garland???

Ray Friedeck (Avram the Book Seller) picked up a crochet hook somewhere around Seattle and never put it down! Here he displays his wares.

Karen Katz (Shprintze/Grandma Tzeitel) could often be seen pacing the halls with Gregg Arst (our Assistant Company Manager) asking for a “what-what.”

Mimi Bensinger (Yente) takes a moment to sign some souvenir cast posters in the backstage hallway of Green Bay’s Weidner Center.

Nick Rafello (Russian Dancer/Fruma-Sarah) had his birthday in chilly Green Bay.

Michael Iannucci (Motel the Tailor) dons a beautiful birthday chapeau during his celebration in Minneapolis.

Mary C. Sheehan (Surcha) got a sassy new haircut during our two-week stay in Boston.

Here’s a self-portrait taken on my last day of tour (in Greensboro, North Carolina). Look at that scary beard! AHHH!

 
 

THE UNIVERSITY OF ILLINOIS AT SPRINGFIELD JOURNAL, 2/6/02 by Nanette Turner   Theodore Bikel [as Tevye] in Fiddler on the Roof was absolutely astonishing!   One could not ask for more from a single show. The sets were absolutely remarkable . . . the costuming is marvelous and the make-up is mind-boggling.   It is hard to single out any actor/actress in particular . . . but the Rabbi (David Masters), Perchik the student, revolutionary (Jonathan Hadley) Motel, the tailor (Michael Iannucci), Yente, the matchmaker (Mimi Bensinger) and Mendel, the Rabbi's son (Ron DeStefano) all deserve tons of credit.

THE GREEN BAY PRESS GAZETTE, 2/27/02 by Warren Gerds   Bikel - as the Russian milkman Tevye of almost 100 years ago - is marvelous.    This production is finely crafted and has high appeal. The old pros around him enrich such characters as Tevye’s wife Golde (Maureen Silliman), the matchmaker (Mimi Bensinger) and Rabbi (David Masters).    The daughters have spunk. As Hodel, Rachel Jones has the most lustrous voice of the show, notably in the heart-wrenching “Far From the Home I Love.” Among other characters, Jonathan Hadley has fire as the radical student/suitor Perchik.    Big scenes invigorate. “To Life” and “The Wedding Dance” (with a splendid bottle dance) are festive. “Tevye’s Dream” is an astounding bolt of brilliance. Re-created on stage at the Weidner, it is wildly fantastic and funny.

THE GREENVILLE NEWS, 4/17/02 by Ann Hicks   It is easy to believe that Bikel is Tevye. He owns the role as surely as his excellent supportive cast own theirs. Each one is a star singer, dancer and actor. Mazel tov, and thanks for the thrills of a night to remember.

THE HOLLYWOOD REPORTER, 1/18/02 by Ed Kaufman   One thing is bottom-line sure about the current version of Fiddler on the Roof at the Wilshire Theatre: It’s still as vital, compelling and touching as it was nearly four decades ago when it opened on Broadway -- a real tribute to the human spirit.   Bikel is a commanding Tevye. Credit Steven L. Gilliam for the authentic sets (based on Boris Aronson’s original designs), Ken Billington for the expert lighting, Michael Bottari and Ronald Case for the lush costumes and Peter J. Fitzgerald for the sound. Sammy Dallas Bayes’ direction and choreography are deft and expert, based on Jerome Robbins’ original choreography and direction.    Fiddler tells the tale of Tevye, his wife Golde (Maureen Silliman is first-rate) and their unwed daughters, . . . engrossing as they sing of their plight of being single in "Matchmaker, Matchmaker." Mimi Bensinger is a humorous Yente, the matchmaker.    But when Yente and Tevye create a match for Tzeitel with Lazar Wolf (John Preece), the elderly butcher, Tzeitel declares her love for Motel the tailor (the talented Michael Iannucci).

THE NEW ORLEANS TIMES-PICAYUNE, 12/13/01 by David Cuthbert   The musical theater craftsmanship, authentic emotion and entertainment savvy that made Fiddler on the Roof a stage experience to savor are firmly in place nearly 40 years after the show first appeared on Broadway. Music, lyrics, humor, drama and dance are interwoven with the seamless skill that was the trademark of original director and choreographer Jerome Robbins.   As Tevye the milkman, [Theodore Bikel] chooses his emotional moments carefully, and when the full force of his voice is unleashed, it is to purposeful effect. His singing is always pleasurable, like heightened musical conversation. There is a simple economy to his gestures, and if there’s a laugh to be had, he gets it but never milks it, pun intended. It’s that rare thing, a subtle star turn, and the combination of actor and role is eventually quite moving.   This company also boasts a star in the making in Jonathan Hadley, who plays Perchik, the radical student. The lanky, likable Hadley has a vibrant singing voice that makes something special out of “Now I Have Everything.” He moves well and gives a lift to every scene he’s in.   The company is appropriately varied in age and appearance, and the rousing showpieces -- “Tradition,” the wedding and bottle dances, and “To Life” -- are all performed with joyful exuberance. Director and choreographer Sammy Dallas Bayes and assistant Ken Daigle keep the spirit of Robbins' staging alive and create striking stage pictures of their own.

THE LOUISVILLE COURIER-JOURNAL, 12/6/01 by George R. Hubbard   Theodore Bikel stepped onto the stage of the Palace Theatre Tuesday night as Tevye and launched Fiddler on the Roof, and I immediately knew that the tradition was alive and well. Three hours later, after weddings, pogroms and heartbreaks, I was yelling and cheering and hoping the tradition would long continue. All of the other roles are beautifully played . . . Michael Iannucci as Motel the tailor, Sara Schmidt as Chava and Rachel Jones as Hodel are particularly fine. Jones’ singing of “Far From the Home I Love” . . . was the musical high point of the evening. Brad Drummer is excellent in the crucial role of Fyedka, the Russian who falls in love with Chava.   The big production numbers are so alive and vibrant that they threaten to spill right off the stage. “To Life” is so boisterous that the tavern nearly explodes, with the interweaving of the dances of the Jewish men and the Russian men handled with plenty of excitement.   Steven L. Gilliam’s set for the village of Anatevka, based on the Boris Aronson original, dances almost as much as the cast, and the many scene changes happen swiftly and seamlessly.

TALKIN’ BROADWAY San Francisco, 12/28/01 by Richard Connema   The current production is crisp and lively and Tevye is still bigger than anybody else in village of Anatevka. Mr. Bikel still has a wonderful vibrant voice, especially when he sings “If I Were A Rich Man.”   Maureen Silliman as Golde is a properly hard edged-foil for her husband Tevye. She has a lovely voice, especially in the number, “Do You Love Me?”   The lighting is interesting, with shades of violet and bluish green and pale brown in the background. The orchestra is top drawer and add that certain zest to the musical. I think this is one of the best productions of this classic musical I have ever seen.

THE LOS ANGELES TIMES, 1/18/02 by Daryl H. Miller   This is a well-cast production . . ., solidly staged, delivering warmth and comfort in all the expected places. Even the old-fashioned stagecraft, with the performers pushing Tevye’s ramshackle house into place on rollers, is a refreshing throwback to the days before the dehumanized slickness of computer controls.   [Bikel’s] deep, rich voice projects each song like cantorial prayer, and he infuses Tevye with just the right balance of reverence and Borscht Belt humor. The daughters who upend his life are also well cast, with Eileen Tepper, Sara Schmidt and Rachel Jones each bringing vitality and a sweet, fluttering singing voice to the respective roles of Tzeitel, Chava and Hodel. The diminutive Maureen Silliman lends a lean efficiency to Golde, Tevye’s good-natured sparring partner of a wife . . . .   It’s impossible to stanch the flow of tears when she and Bikel sing “Sunrise, Sunset” at Tzeitel’s wedding, part of a finely detailed staging re-created by Sammy Dallas Bayes, who has long been associated with Fiddler.

THE MINNEAPOLIS STAR TRIBUNE, 2/1/02 by Rohan Preston   Theodore Bikel, star of a production that opened Wednesday at Minneapolis’ Historic Orpheum Theatre, again proves that Fiddler may be a war horse, but it has a lot of touching life left. His renditions of “If I Were a Rich Man"” and “Chavaleh” resonate long after you have left the theater. Bikel has played the role more than 1,800 times, and that familiarity shows in every gesture, in his clever visual expressions, in his vocal coloring. A master onstage, Bikel has a baritone colored by longing and history. He imbues even his speech with a lovely musicality.    And he has good chemistry with Maureen Silliman, who plays his put-upon, determined wife, Golde, with brassiness and verve. Silliman reads Golde as utterly modern and quick of tongue. She might be dressed in rags -- but they are clean rags.     The Orpheum production has some strong voices, with clear, crisp articulation and deep emotions. It has some lovely choreography -- recreated from Jerome Robbins’ original -- that is perhaps the origin of the dancing peasants that seem to be part of every Broadway epic.

THE SEATTLE TIMES, 1/10/02 by Misha Berson   Is Bikel, still an enviably vigorous man at age 77, just going through the motions in Fiddler? Not at all. In this nostalgic but bittersweet evocation of Jewish life in the make-believe czarist Russia shtetl (village) of Anatevka, Bikel pours his heart, soul and skill into Tevye’s every shrug, every sigh, every mordant aside and put-upon chat with God.     Fiddler is what it is: a superior, stirring Broadway entertainment. And the touring cast that supports Bikel . . . performs the show with gusto - notably, Maureen Silliman as Tevye’s feisty wife Golde, John Preece as the wife-seeking butcher Lazar and Eileen Tepper, Sara Schmidt and Rachel Jones as Tevye’s marriage-age and independent-minded older daughters.

THE SEATTLE POST-INTELLIGENCER, 1/10/02 by Mary R. Martin   If any actor in America can be said to inhabit a role, it is Theodore Bikel in Fiddler on the Roof. He is sweet and bearlike as Tevye, the put-upon milkman, papa and husband who talks to his Hebrew God as he pushes his milk cart along. His enormous stage presence fills the Paramount to the back rows of the balcony.   Bikel’s renditions of “If I Were a Rich Man” and “Chaveleh,” in particular, reflect the richness and subtlety that come from owning a role for years and working to keep it fresh. In fact, this entire touring production of Fiddler shines with freshness -- as many road shows do not -- and bubbles with talent, from main roles to back-row chorus parts.   Maureen Silliman as Tevye’s wife, Golde, is vocally nimble and convincing as the mother of five willful daughters. Her “Do You Love Me” duet with Bikel is a soft, touching moment in the hubbub of life in the village they soon will have to leave. Tevye’s oldest daughters, played by Eileen Tepper, Sara Schmidt and Rachel Jones, achieve especially fine vocal blends in “Matchmaker, Matchmaker.”   This touring production is as close to flawless as audiences are likely to see. Le’chayim to Bikel and his supporting cast, to Fiddler’s lasting appeal, to the tour’s designers and to the technical crew at the Paramount.

TALKIN’ BROADWAY Seattle, 1/10/02 by Jonathan Frank   Thanks to a multitude of regional and community theater productions, not to mention a near-perfect movie adaptation, it is easy to dismiss the show and hard to get too excited over the prospect of revisiting it. However, that would be a grave mistake as it would mean missing a magnificent portrayal of its central character by Theodore Bikel.     [Bikel’s] energy is that of a man half his age, making him more than a match for the 20- and 30-something dancers that surround him. Bikel pours his heart and soul into the part, taking us on Tevye’s emotional journey with every gesture, put-upon sigh, or mock-quarrel with his God (a remarkably present character in the show). Without ever resorting to an idealized caricature of a Russian Jew, Bikel makes us feel every joy, sorrow or agonizing choice faced by Tevye, and somehow makes the part feel fresh and new, no mean feat considering that he has played Tevye over 1,700 times.   [Other] highlights . . . Jonathan Hadley (Perchik), Rachel Jones (Hodel), and Jeri Sager (a delightfully over the top Fruma-Sarah).

THE BUFFALO NEWS, 2/13/02 by Mary Kunz   There’s no arguing that [Bikel] is wonderfully natural in the part. It fits him so well that he pretty much becomes Tevye, the Russian Jewish patriarch who gradually has to let his daughters go.   Voices, for one thing, are superb, and easily audible from the back of the hall. Motel (Michael Iannucci) has an endearingly adolescent ardor, and Golde (Maureen Silliman) packs real power. You could see how she intimidated Tevye.     The dancing is tremendous. The Russians pull off some amazing footwork; in “To Life,” they weave through a line of dancing Jewish men; we see the literal intermingling of the two cultures, and it’s breathtaking. Tzeitel’s wedding is a fantastic scene, as the men dance in a ring, their bodies bending like rubber, athletic even in those long coats and trousers. People gasped and cheered.     It’s fun and entertaining to watch the fiddler darting in and out of the action.

THE INDIANA DAILY STUDENT, 2/21/02 by Meredith Hahn   Especially worth mentioning were the characters of Yente (Yiddish for gossip) the Matchmaker played with nosy gusto by Mimi Bensinger, and the shy, young tailor Motel brought into a timid manhood by Michael Iannucci.   Seasoned fans of the show were made to forget their preference for the original cast as the night went on. Tevye’s daughters were a breath of fresh air compared to the wailing vocals used on the Broadway recording. The actresses who played Tzeitel, Hodel and Chava were lively and lovely in their portrayal of three young women dreaming of the future. Whether they were dancing with broomstick grooms to “Matchmaker, Matchmaker,” or creating a nostalgic background to Tevye’s solo “Chavaleh,” these young women added a unique spark to the show.

THE BLOOMINGTON HERALD-TIMES, 2/21/02 by Aja Romano   The show at the Auditorium through Thursday night is overwhelming - not only in its ability to remain compelling despite its familiarity, but in the miracle of Jerome Robbins’ genius in staging, choreography, and concept. You will not feel, watching this production of Fiddler, that you are watching a re-run.    The ensemble cast, headed by the brilliant Theodore Bikel, is a wonder. Every member is balanced, equal in strength and conviction, regardless of role, behind the force of his Tevye.    There is a reason Bikel, a living legend, has performed the role more times than anyone on earth: He simply is Tevye.    Fiddler is art. It is not a musical, but a masterpiece. The book, the lyrics, the music, the staging, are as seamless as anything you could ever hope to see.    The production is flawless. Sets are handled so well you hardly notice them, which is quite a feat considering how numerous they are. The ensemble numbers from a strong-voiced cast are choir-like. Even the cutoffs are perfect. The musicians, from the solo violin on down, are par excellence: to quote Cabaret, “even the orchestra is beautiful . . .”    Yet there is nothing overdone about Fiddler, or this production. Lighting, costumes, backdrops, the newness of scenes you’ve seen before-it’s all perfect.     It is obvious watching Bikel, and everyone in the cast, that Fiddler is a labor of love. Consider this not a review so much as a love song to a great show, and to musical theater itself. Once you’ve seen this production, you’ll be singing right along, too.

THE SPRINGFIELD JOURNAL-REGISTER, 2/23/02 by Gus Gordon   Dancing and singing with a sprightliness that belies his almost 78 years, Bikel proves that even after playing the role more than 1,800 times, he can still kick up his heels with the best of them. We should all be so lucky to have half his stamina. Even though this is Bikel’s show, he is surrounded by a strong supporting cast.    Maureen Silliman is suitably peevish as his wife, Golde. The part can frequently come off as shrewish, but Silliman is able to present a well-balanced portrayal, emphasizing the character’s warmth in addition to her brittleness.    Strong work also is contributed by Eileen Tepper and Sara Schmidt as two of the oldest sisters, Michael Iannucci as the nervous tailor Motel, understudy Rebecca Simon as the ghost of Fruma Sarah, Brad Drummer (great high notes in “To Life”) as Fyedka and Fiddler veteran David Masters as the befuddled Rabbi.     Special kudos go to Jonathan Hadley as the revolutionary student, Perchik, and Rachel Jones as his love, Hodel. They had very good chemistry together, and Jones’ version of “Far From the Home I Love” was one of the musical highlights of the show.

THE KALAMAZOO GAZETTE, 4/3/02 by C. J. Gianakaris   Hype surrounding the touring Fiddler on the Roof that opened Tuesday night at Miller Auditorium claims its Tevye -- renowned actor Theodore Bikel -- is the finest performer ever to take on that role. And they were right. Bikel was a marvel as Tevye. His physical appearance made for an ideal presence on stage, while his resonant and marvelously controlled voice took full advantage of every facet in the role. Bikel achieved unfailing freshness in his vocal and spoken delivery.     Sammy Dallas Bayes deserves special mention for reproducing Jerome Robbins’ stunning choreography. Designer Steven L. Gilliam provided versatile and effective sets based on the original ones of Boris Aronson, while costumes by Michael Bottari and Ronald Case showed colorful imagination. Musical director Sheilah V. Walker led a note-perfect pit orchestra of 18 musicians, to lend strong support to the challenging songs.     All members of the huge cast were fine, with standout performances by Michael Iannucci as Motel, David Masters as the Rabbi, John Preece as Lazar Wolf, Mimi Bensinger as Yente the matchmaker, Jonathan Hadley as the student Perchik and Mike O’Carroll as the town constable.     Among Tevye’s five daughters, Eileen Tepper’s Tzeitel and Sara Schmidt’s Chava were splendid. But [Rachel Jones]’ singing, in the role of Hodel, was exceptionally lovely.     Anyone who appreciates good musical theater undoubtedly has viewed Fiddler on the Roof countless times. But this fine Fiddler deserves to be seen.