A new production of “Fiddler on the Roof” with an iconic sitcom star as its Tevye?
Not tradition, perhaps, but Jason Alexander proves to be inspired casting. As the lead in a sumptuous, captivating presentation at La Mirada Theatre, the “Seinfeld” star’s stage roots blossom on display in Southern California’s toughest theater ticket.
Sporting a full salt-and-pepper beard, grown for the role, Alexander doesn’t settle for a star turn in the suburbs but centers the piece with a fully inhabited Jewish dairyman contending with family and social upheaval in1905 rural Russia.
Certainly, he’s deft enough for the many comic moments written into the role. For instance, in the comic ballet of a meticulously deranged mounting of “Tevye’s Dream,” Alexander is especially animated and fleet, which, at age 65, can’t come easy seven performances a week.
Throughout, his Tevye offers twinkly-eyed bemusements or frustrated flailing at the latest puzzlements to fall his way.
He is especially amusing during his many soliloquies — both fists raised in exasperated frustration at the heavens — arguing alone to a very obstinate God seemingly intent on thwarting Tevye’s every yearning.
The actor’s moments are equally compelling when events turn serious.
Tevye is a committed husband and a hard-crusted patriarch who melts in his three father-daughter confrontations, when their marital choices vie with the religious and cultural traditions that shape his world view.
Alexander knits these complications into a very human whole, a man who is equally convincing in his further role as the neighborhood mensch, the local go-to figure when authority figures from the outside persecute and crush the village of Anatevka’s very existence in a violent, changing world.
“Fiddler on the Roof” has always been a confluence of a warm, domestic comedy meeting harsh and dour realities and Alexander is definitely a definitive central figure in whom these opposing tugs and pulls collide well.
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The darker themes are as true today as when the musical was staged 60 years ago, as Alexander addresses in his program note.
Instead of the usual professional bio regurgitation of “I did this/I did that,” he writes: “Fiddler is about many things. It is about Jewish history and tradition. In this time of rising antisemitism and anti-immigrant sentiment, I am proud to tell this story of both Jews and immigrants.”
Alexander thanks and praises the show’s creative team and the theater for assembling the resources to do justice by the work.
Director Lonny Price’s stated intent with this “Fiddler” was to intentionally restage it as faithfully as possible to original director Jerome Robbins’ vision.
(Not everyone got it back then: a Variety review blared “No smash, no blockbuster” about a show that would go on to win nine Tony Awards and run for eight years.)
Price is aided by veteran choreographer Lee Martino, who replicates Robbins’ original, animated ensemble dances to great success, with the male dance corps shining as one of the production’s strong backbones.
Backed by the theater itself, which hasn’t held back in providing generous financial support, the show is a show-off in the best ways.
For instance, under attentive conducting by music director Alby Potts, the lush 19-piece orchestra’s fulsome playing flows from the pit. It’s not often these days a regional theater musical production includes credits for bassoon, oboe, English horn and French horn… and there’s also a celeste!
Starting with “Tradition,” the musical is front-loaded with nine additional indelible Broadway show tunes seen in marvelous stagings, including “Matchmaker, Matchmaker,” “To Life” and “Sunrise, Sunset.”
It’s a scene-by-scene smile-fest for how wonderful the first 100 minutes of a musical can be.
Alexander is supplemented by a very strong supporting ensemble. With a staggering 34-person cast of performers on board, a couple of very noteworthy faces in the talented sizable crowd include:
Tevye’s stalwart wife Golde is a satisfying match for him as played by notable stage actress Valerie Perri. She stands up well to his blustering fits, as well as entertainingly spitting out an astonishing number of “ptui’s” when motivated to do so during “Tevye’s Dream.”
In the tender second act husband-and-wife duet “Do You Love Me?,” it is a pleasure watching her face as she slowly realizes and evinces that, yes, after all the years, she does.
“Fiddler’s” second daughter Hodel is a smaller turn worth noting as played by Alanna J. Smith. There is nothing small in the actress’ earnest intensity; it gleams from her face in every appearance, especially as she falls for socialist activist swain Perchik (a composed, self-assured Remy Laifer).
Smith’s rendition of the wrenching second act number “Far From the Home I Love,” is not easy to sing well, but is a musical highlight.
A couple of staging qualities especially deserve mention.
Jonathan Burke’s sound design showcases both the instrumental delights and also the periodic, terrific chorus singing, especially from the male ensemble.
The lighting design organized by Japhy Weideman is also a treasure throughout.
The very sensitive, sonic “Sabbath Prayer” is lit in muted pastels and shadow, a warm glow hovering over the quiet scene and then delicately receding. The moment is enhanced by cast members stretching up the aisles on either side of the audience, standing in the dark with glowing, muted lighting devices.
This is ambient bliss.
In 2016, I was fortunate enough to see the very strong revival of “Fiddler” in New York, which ran for a year on Broadway.
In La Mirada, now, this production is more satisfying.
‘Fiddler on the Roof’
Rating: 4 stars (of a possible 4)
Where: La Mirada Theatre for the Performing Arts. 14900 La Mirada Blvd., La Mirada.
When: Through Dec. 1. 7:30 p.m. Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1:30 and 6:30 p.m. Sundays. The regular Thursday performance on Nov. 28 (Thanksgiving) has been moved to Wednesday, Nov. 27.
Tickets: $34-$109
Information: 714-994-6310, 562-944-9801; lamiradatheatre.com