Raising the 'Roof': Marriott, 'Fiddler' a perfect match

If there was a checklist describing the classic musical, "Fiddler on the Roof" would satisfy every criterion.

There's the compelling story - centered on the eternal conflict between old ways and new ideas - of decent people confronting life-changing events with resilience and courage. There's Joseph Stein's humorous, poignant and well-written book adapted from 19th century Yiddish writer Sholem Aleichem's short stories. Then there are the revealing lyrics by Sheldon Harnick and composer Jerry Bock's iconic score, rooted in Slavic folk traditions and played in a minor key. Pair all that with a gifted creative team and top-flight ensemble, and the success of Marriott Theatre's production is practically guaranteed.

But director/choreographer David H. Bell's robust, richly detailed production has something more. It has that indefinable something - that certain spark - that elevates a production from ordinary to exceptional.

It's evident in the aching violin solos played by Gregory Hirte, the titular fiddler, a symbol of working folks trying to "scratch out a pleasant, simple tune" without breaking their necks.

It's there in the majestically sung "Tradition" and the lovely, intimate "Sabbath Prayer" which reflect the consummate musicality of music director Doug Peck. It's present in Bell's rousing folk dances, including his brilliantly staged "Dream," and in the heart-wrenching moments when a family finds itself torn apart.

But it's expressed most vividly by the performances of the stellar ensemble, led by Ross Lehman in an effortlessly comedic, altogether endearing portrayal of family man Tevye, who fears bending too far, lest he break.

His performance is a masterful display of timing and humanity by an actor uniquely suited to the role of Everyman, in this case a Russian Jewish milkman eking out a living in a small, seemingly tolerant village on the eve of Russia's 1905 revolution. In an increasingly violent, unstable world, Tevye's informal conversations with God and his commitment to tradition serve as his anchors.

Paula Scrofano (an actress incapable of striking a false note) plays his practical wife Golde, mother of his five daughters, three of whom are of marriageable age. Golde hopes to wed them to wealthy men with the assistance of Rebecca Finnegan's Yente. But the girls - who are far more progressive than their parents imagine, surprising for a show from 1964 - have other ideas, which will test their father's devotion to his family and his faith.

Eldest daughter Tzeitel (Jessie Mueller) prefers her childhood sweetheart Motel (Andrew Keltz) to the middle-aged butcher Lazar Wolf (David Girolmo) with whom Yente has matched her. The spirited Hodel (Dara Cameron) finds herself attracted to the young revolutionary Perchik (Justin Berkobien, whose performance suggests Marriott may have a new leading man in the wings), while bookish middle daughter Chava (Laura Scheinbaum) is drawn to Fyedka (Patrick Sarb), a gentile.

Watching this production, I was struck once again by the richness of "Fiddler's" score and the quality of its writing, and the special something Marriott brings to the mix to make it unforgettable.