Fiddler on the Roof
at Pope John Paul the Great Catholic High School

Reviewed on April 12, 2014

Chris Knarr
Chantilly High School
Submitted for publication to Washington Post - Prince William

We are creatures of habit in a world of constant change. As Bob Dylan put it, "the times they are a-changin." Not just in 1964 when he wrote the song, but across all time. To live a happy life today against the current of constant and precarious change is like playing a violin in high heels... Like plucking a viola on stilts... Like being a Fiddler on the Roof. Pope John Paul the Great Catholic High School recently performed the timeless musical of tradition, change, and survival.

Fiddler on the Roof, also written in 1964 by Joseph Stein with music and lyrics by Jerry Bock, and Sheldon Harnick, centers on Tevye, a lazy dairyman in Czarist Russia and his divine quest to marry off his five daughters. However it couldn't possibly be that easy, the Czar and Christianity encroach on the simple life in Anatevka, meanwhile tensions run high as the Bolshevik revolution is about to begin in urban Russia. Fiddler on the Roof was the longest running Broadway musical for nearly ten years. It was nominated for ten Tony awards for its debut Broadway run and it won nine of them.

Pope John Paul the Great's new theatre program didn't seem the least bit novice in their performance. Beginning with an iconic silhouette of the fiddler working his tune upon the roof, there was something very enthralling about the show that captivated the audience from start to finish. The feel of an intimate, Hasidic village filled the entire auditorium. The relationships shown among characters were a marvel and something that probably couldn't be found today.

Tevye, played by Jimmy Mullen, was a great big lovable oaf. Mullen's comedic timing and delivery was impeccable. Mullen did a great justice to his role, commanding the stage during every single aside or monologue of Tevye, was done excellently. Tevye's wife, Golde, played by Sabrina Morales, had a very clear, light, and pleasant voice. Morales and Mullen had a great dynamic that showed much of the traditional life in Anatevka. Whenever on stage, they played off of each other incredibly well without overacting.

The Christian Constable, played by Ben Nash had to express the duality of both being a citizen of Anatevka with great social connections to the Jewish populace and being forced by the czar to abuse and persecute the Jews. Certainly a difficult line to walk, Nash found the great balance between and took it all the way. The ensemble as a whole gave an excellent performance not only in acting but also in the bigger, dance-heavy numbers of the show. Of course, one cannot leave out the fiddler, Denise Gallant, who played some very beautiful solos while staying in character, sometimes moving about, and all from memory.

The set by Ryan Goerl, Michele LeBlanc, Jimmy Mullen and Colson Steward was multifunctional and very detailed, it could be seen that great work had been put into it, along with the props. Scene changes were seamless and kept the flow of the musical going. Lighting was beautifully designed and complimented the show in every way possible. Fiddler wouldn't be complete without big ridiculous Russian beards, and they were both good and plenty.

All I know is that if I were a rich man, I'd see this show over and over again. On the other hand...No- there is no other hand! Pope John Paul the Great Catholic High School took a classic and sent the audience home with a performance they would not soon forget.

Talia Brenner
Walt Whitman High School
Submitted for publication to Washington Post - Prince William

With emotional artistry and unmistakable chutzpah, Pope John Paul the Great Catholic High School students wove a comical yet heartrending tale in their production of Fiddler on the Roof. The musical, which depicts a Jewish village in Tsarist Russia, was certainly a surprising choice for a Catholic high school, but actors flawlessly proved that despite cultural differences, familial love is a universal theme.

Based on the story "Tevye and his Daughters," Fiddler on the Roof first brought Jewish history and elements of Yiddish theatre to a mainstream, English-speaking audience. Written by Joseph Stein and music and lyrics by Jerry Bock, and Sheldon Harnick, the comedy giant Zero Mostel starred as Tevya when the musical opened in 1964 to great commercial success. Pope John Paul the Great Catholic High School students delivered a smashingly energized performance that kept the audience riveted.

To the sound of a Yiddish folk melody, the curtain opens to reveal a fiddler (Denise Gallant) precariously perched on a roof. Tevye (Jimmy Mullen), a humble milkman and dutiful father, explains that everyone in the poor village of Anatevka is a fiddler on a roof, struggling to maintain piety and tradition amid modernity and religious oppression. Mullen truly embodied a man racked by self-conflict, as Tevye's steadfast faith is tested by his daughters' nontraditional marriages. Mullen successfully portrayed a wide emotional variety; his brilliant comedic timing drove the audience to laughter during Tevye's casual conversations with God, while emotional scenes of Tevye's painful decisions were tear-jerking.

Supporting and featured characters also never failed to impress. Abigail Williams was hilarious in her turn as gossipy, kvetching matchmaker Yente, and Sabrina Morales excelled as Tevye's sharp-tongued wife, Golde. Morales' strong vocals and genuine acting made "Do You Love Me?" a touchingly sweet number. The oldest three of Tevye's daughters, Tzeitel (Christine Connor), Hodel (Felicity Moran), and Chava (Megan Krakie), showed triple-threat talents throughout the show. In particular, Connor showed excellent chemistry with her sweetheart, Moran's voice soared in "Far From the Home I Love," and Krakie performed a graceful dance solo. Fiddler on the Roof's heavily featured ensemble maintained high levels of energy in large dance numbers and demonstrated vocal expertise with spot-on harmonies. An ensemble favorite seemed to be Tevye's "Dream," where dead relatives accompanied the shrieking ghost of Fruma-Sarah (Monica Loesel) in a warning from beyond the grave.

Technical elements further upheld the school's tradition of excellence. Jimmy Mullen, Michele LeBlanc, Colson Stewart, and Ryan Goerl's set included a rotatable house and a bed whose upright construction gave the audience a bird-eye view. Michele LeBlanc's vividly lit backdrops included every color in the sunrise and sunset. Although some set changes could have been quicker, a student set crew mostly handled very large pieces with ease.

Almost a hundred years after the show's 1905 setting, the ugly face of religious persecution still exists around the world. Still, one does not need to live in Anatevka to know that family and community can provide love and support in times of strife. Since 1964, Fiddler on the Roof has been translated into many languages and performed around the world. This is due in part to the prevalence and pertinence of its themes, and Pope John Paul the Great Catholic High School students could not have made that clearer.

Stuart Pratuch
West Springfield HS
Submitted for publication to ShowBizRadio.net

The eternal struggle between change and tradition plays out on multiple battlefields. Whether it be the upcoming tumult of the Russian Bolshevik Revolution or the siren's call of puberty, the status quo is perpetually under attack. So how do these forces balance? Pope John Paul the Great Catholic High School's Fiddler on the Roof superbly answers this perpetual dilemma with that one miracle of miracles: love.

Fiddler's tale begins with Sholem Aleichem. Aleichem published several short stories in 1894 including one entitled Tevye and his Daughters. This story inspired Joseph Stein, Jerry Bock, and Sheldon Harnick to inevitably create the 3,242-performance-running, nine-time-Tony-winning, and Zero-Mostel-starring musical in 1964. The musical proceeds to follow the life of Tevye as he endeavors between his ideals of Jewish tradition and the ever-changing nature of Mother Russia.

To kick off the stellar performance, Pope John Paul the Great bought out an amazing cast. Jimmy Mullen's portrayal of Tevye contained a phenomenal amount of comic timing and pacing with a admirable approach to the complex songs. Meanwhile, Tevye's beautiful chemistry with his wife, Golde (performed with the consistency and lovely vocals of Sabrina Morales), in "Do You Love Me?" paid exquisite tribute to their twenty-five year marriage. To complement her mother and father, Hodel's (Felicity Morgan) equally outstanding voice wonderfully matched with revolutionist Perchik (Andrew Lane) in "Now I Have Everything". Then, with the fabulous dancing of Motel (Michael Manley) and Chava (Megan Krakie), Pope John Paul the Great set itself far and beyond most other high schools.

Not to easily be forgotten is the energetic ensemble. Despite some overacting, by playing to their strengths, the stupendous harmonies and in-character styles (especially in the chaotic sequence of "The Dream") of the ensemble helped stand them apart as well as stand together in the grand scheme of the musical. The spectacular stage presence of Denise Gallant's fiddling assisted the illustration of survival through a particularly distraught era of Russian history. Meanwhile, Yente, astonishingly executed by Abigail Williams, held onto her old lady physicality with impressive comedic timing. Furthermore, the Constable's (Ben Nash) torturous expressions between his desires to stay true to the government or care for the poor villagers painted how far deep the injustices of Tsarist Russia had gone.

The acting was only further complemented by the marvelous tech! While the orchestra was overpowering at time, this likely came from a lack of time practicing with the cast. On the other hand, the astounding attention to detail paid by the costumes shined through the black wedding dress of Golde and the magnificent beards of the Village Elders. Even more remarkable was the fantastic choreography of Christine Connor, especially noticeable in the bottle dancing in "Sunrise, Sunset". The splendid sledwork in the house set as well as the gorgeous sunsets from the lighting crew rounded out the technical aspects of the show to provide a solid foundation for the background of the story.

As traditions fade, the future supersedes the past albeit with challenges abounding. As turmoil strikes Tsarist Russia, Pope John Paul the Great Catholic High School's fantastic Fiddler on the Roof proves, through one melodious instrument, that hope thrives in this dreary, impetuous world through change, balance, and tradition.

Erin Dlott
South Lakes High School
Submitted for publication to Patch.com - PWC/FQ

The sun rises and sets and a new day begins in Anatevka, filled with traditions that have been passed from generation to generation. The cast of Pope John Paul the Great Catholic High School's Fiddler on the Roof truly embodied the changing times that alter traditions and brought the trials of every day "To Life."

Fiddler on the Roof, based on the story "Tevye and His Daughters", opened on Broadway in 1964. With a book by Jerry Bock and music and lyrics by Jerry Bock and Sheldon Harnick, this smash hit won ten Tony awards while also running for over 3,200 extraordinary performances before being developed into the beloved film in 1971. Fiddler follows the character of Teyve, a struggling milkman, as he encounters the hardships of poverty as well as the restrictions of tradition when it comes time to marry off his five daughters.

The cast was led by the robust character of Tevye (Jimmy Mullen) as he expertly maneuvered the emotional highs and lows with unmatched gusto. Mullen's comedic timing was near perfect and his amusing, one-sided conversations with God were only heightened by his imposing projection and his ever-present Russian accent. The anguish felt by Teyve was reflected in Mullen's deep, soothing voice, allowing for much character development as the production progressed. Every movement and every breath taken on my Mullen truly exhibited the essential, inner considerations of Tevye.

Golde (Sabrina Morales), handled the character of an audacious and overworked wife with ease. Her understated chemistry with Tevye was charming, especially in the number "Do You Love Me?"

Standout performances included that of Hodel (Felicity Moran) in her melodic ballad of "Far From the Home I Love." Her operatic soprano conveyed the melancholy mood that comes from departing with loved ones. Yente (Abigail Williams), the meddlesome matchmaker, humorously presented her character with an authentic accent and composure that with her continuous energy produced a noteworthy performance.

The ensemble of the production commendably developed the foundation of the show. Their breathtaking harmonies and devotion to the traditional choreography was astounding and proved to be an excellent support to the performances of the lead actors. The cast performed with what may only be called genuine heart, as reflected in the musical numbers of "Tradition" and "Sunrise, Sunset."

The technical feats of the show were superbly chosen, with effects such as fog and noises of crickets and trains to enhance each individual scene. While there were a few questionable lighting choices, the brilliantly lighted cyclorama utilized as the backdrop, beautifully presented the everlasting cycle of day and night, an imperative element to Fiddler on the Roof.

The miraculous rolling set that included a makeshift bar and Tevye's home brought the village of Anatevka to life. Each segment of the set was effectively functional and provided a variety of levels utilized by the actors, especially in chaotic scenes that included the entire company.

Just as the fiddler on the roof, the cast and crew of the production never strayed from the roots of the display, conquering an unusual choice with admirable relish. Mazel Tov to Pope John Paul the Great Catholic High School in their emphatic rendition of Fiddler on the Roof.

Mallory Astrow
West Springfield HS
Submitted for publication to Prince William Times

To life, to life, L'chaim! L'chaim, L'chaim, to life! As the silhouette of a slender fiddler playing upon a shanty roof set the scene for a remarkable show, Pope John Paul the Great Catholic High School's performance of Fiddler on the Roof certainly was full of life.

Based on the tales of Tevye and his Daughters by Sholem Aleichem, Fiddler on the Roof was adapted to the stage by Joseph Stein in 1964 with music and lyrics by Jerry Bock and Sheldon Harnick respectively. The widely acclaimed hit was the first musical to run for more than 3,000 performances. The story follows Tevye, a poor dairyman with five strong willed daughters, as he struggles with decisions that test his faith and endurance.

The production itself was anchored by the distinct, consistent character of Tevye (Jimmy Mullen). His strength and determination led his village through many uncertainties during which, the town Rabbi was found to be completely useless. Mullen was masterful at staying in the moment. It was never unclear what his character was thinking and it was easy to see exactly how increasingly difficult it was for Tevye to make his decisions. Each soliloquy over whether or not he should allow the daughter in question to do as she pleases, though written nearly identical to one another, was made completely distinct by his vocal variety and physical expressions. There was a melancholy beauty to watching Tevye's deterioration as he slowly lost control over his family and what choices they would each make.

Another standout performer was Sabrina Morales who played Golde. Though Golde wasn't particularly pivotal to the overarching plot of the show, Morales created a full story for her character. Though she originally comes across as brash and strict, she opens up, at least for a short time, to show a gentler, more caring side of herself. One shining moment for Golde was during a scene with Tevye as the pair sang "Do You Love Me?". The poignant duet showcased Morales's ability to layer her characterization. What once seemed only to be a stern motherly figure became a loving wife who never even realized how much in love with her husband she was.

The beauty of the production itself was greatly aided by its talented technicians. The various set pieces were expertly painted with great attention to detail. They created the appearance of a cohesive Russian village from another time. Since this show is about a fiddler who plays on top of a building, it cannot be overlooked that the shingling on Tevye's home looked quite convincingly like a weathered roof. Another key element of this show was the consistent lighting upon the back curtain. The colors thrown across the white backdrop created a beautiful sunset atmosphere for many appropriate scenes.

The matchmaker certainly created a match when she paired this show to this school. If Tevye were a rich man, this wonderful story would not have been brought to life on the stage Pope John Paul the Great Catholic High School. As is followed by tradition, it was a good Sabbath and a job well done.

Allison Fantz
Lee High School
Submitted for publication to The Catholic Herald

Five children, you say? Yes, five daughters – the most troublesome blessing God can give a man in turn-of-the-century Russia. The story of Tevye (Jimmy Mullen) and his five daughters is told in the 1964 musical Fiddler on the Roof, written and music by Jerry Bock, Sheldon Harnick and Joseph Stein. As Teyve, living in poverty, struggles to marry off his three eldest daughters, he compares himself and all the villagers of Anatevka to fiddlers on a roof. In Pope John Paul the Great Catholic High School's production of Fiddler on the Roof, the villagers know that they must always play to the tune of Tradition, for it is the only thing which keeps them from losing balance, losing sight of what's truly important and falling off the roof.

Times, however, are changing everywhere and soon the little village of Anatevka must follow suit. In the line of tradition, the village matchmaker Yente (Abigail Williams) attempts to find husbands for Tevye's daughters, but one by one, the three girls find their own matches. In the process Teyve learns that tradition may not always be best, especially in the case of true love.

Jimmy Mullen's adept portrayal of Tevye as a worn out working man and exasperated father captivated the audience throughout the show. He demonstrated the character's beautiful transition from being set in the traditions of arranged marriage, to accepting that his daughters' matches were arranged by "the matchmaker of Adam and Eve." During his conversations with God, Mullen's direct, often sarcastic tone displayed the character's relationship with the "big man upstairs", and his many droll and witty lines were delivered to perfect comic effect.

Much of Tevye's emotional development was demonstrated through the scenes with his family, particularly his wife, Golde (Sabrina Morales) and second daughter, Hodel (Felicity Moran). During the duet "Do You Love Me?" Morales' proficient acting skills conveyed her bewilderment and both characters' realization that it was not only tradition, but love as well, that held their relationship together. As his daughter Hodel was leaving for her fiancée in Siberia, Tevye's affectionate side was again revealed. With her solo "Far From the Home I Love" Moran's lovely vocals demonstrated her skill and also showed her character's true feelings.

Abigail Williams quite possibly made the matchmaker Yente the most enjoyable character to behold, bringing laughter every time she set a foot on stage. Her character commitment was exceptional as she consistently took on an elderly posture and used a high-pitched tone of voice. A large amount of the comedy of the show relied on her, and she executed it perfectly.

The sets were exceptionally well done, as was the lighting. These elements contributed incomparably to scenes such as "The Dream," when a cleverly-done upright bed elicited uncontrollable laughter, and a red spotlight on a hideous (long dead) first wife was accompanied by gasps of unexpected fear.

It is clear from the energy in the ensemble, the powerful display of all aspects of the ingenious plot, and the obvious enjoyment in the audience, that Fiddler on the Roof was a perfect fit for Pope John Paul the Great Catholic High School.

Emilie Knudsen
Oakcrest School
Submitted for publication to Lorton Valley Star

The silhouette of a lone fiddler on a roof plays the sweet cadence of the musical theme. The lights brighten on an empty stage and Tevye narrates the story of the Fiddler on the Roof. The bittersweet tale of hope, love, dreams, and maintaining tradition in a modern world enchanted the audience at Pope John Paul the Great Catholic High School in Dumfries.

Based on a novel entitled Tevye and his Daughters by Stohelm Aleicham, the musical drew its name from a surrealist painting called The Fiddler by Marc Chagall. The show Fiddler on the Roof by Jerry Brock, Sheldon Harnick, and Joseph Stein opened on Broadway in 1964 and became an instant success. It was the first musical to surpass 3,000 performances on its opening run and, to this day, remains sixteenth as the longest running show on Broadway.

Fiddler on the Roof is a heart wrenching story of a Jewish community set in Tsarist Russia. It centers on Tevye, his wife, and five daughters. Tevye's daily struggle intensifies as his eldest three daughters each fall in love, straining the confines of Jewish tradition and customs. The long and difficult musical is challenging for a high school to perform, but Pope John Paul the Great Catholic High did an admirable job.

Jimmy Mullen (Tevye) graced the stage with his well-timed comedic moments, excellent physicality, and rich voice. His emotional arc throughout the show was well executed and easy to follow as he deftly portrayed a man whose world is slowly crumbling. He easily brought both laughter and tears to the audience. Sabrina Morales (Golde) did a beautiful job of portraying a woman whose effigy of stone hides an inner softness and warmth. Mullen and Morales were very believable as a couple and solidified their relationship in the striking song "Do You Love Me?".

The beautiful voice of Felicity Moran (Hodel) captured the hearts of the audience in songs like "Far from the Home I Love" and "Sunrise Sunset". Megan Krakie (Chava) was a superb dancer as well as an excellent vocalist She used both of these talents to show her emotional turmoil as she falls in love with Jonathan Madorma (Fyedka), a Russian soldier, who is kind and gentle, but quick to catch Tevye's disapproval and loathing.
Abigail Williams (Yente) gave a stellar performance as the hilarious town gossip and matchmaker, while Ben Nash (Constable), who is torn between his occupation as a Russian soldier and his duty of friendship, brought the darker elements of the story to life.

The ensemble worked with diligence to keep up the energy of the show, bringing vivacity and spirit to group numbers like "The Dream", with stand-out performances from Monica Loesel and Teresa Cummings, and "Tradition". The ensemble conquered difficult choreography like the traditional Jewish bottle dance as well as iconic Russian dances. Since they had no microphone system, the cast had the added difficulty of projecting over the orchestra, a difficulty that, for the most part, they easily overcame.

Often acting as stagehands as well, the cast members worked swiftly and never broke character if a slight mishap occurred. Though cumbersome at times, the set was well constructed and attuned to detail. The set pieces worked well with the iridescent washes of light during scene changes to create beautiful silhouettes. The lighting, like the set, was simple and effective, effortlessly portraying the time of day.

The cast of Fiddler on the Roof took a difficult show and excelled. With high energy, soaring vocals, and well executed choreography, Pope John Paul the Great Catholic High School deserves much praise. L'Chaim.