Review: Viulunsoittaja katolla

When a little story
A global story grew

The story of the Russian Jew Tevye, his family and the village of Anatevka has moved people since the 1960s. It’s one of those little stories that grows big in meaning. Tsarist Russia, although it can be seen as moving on the waves of history, from yesterday to the future. The phases of the Jewish community and an identity that adheres to traditions are central, but they share the theme of homesickness with both our own evacuees and today’s “driven away” refugees from war.

According to experts, the musical Fiddler on the Roof has its roots in operetta, and it draws on Western romantic traditions as well as Jewish and Russian musical culture. The success of the story is already largely revealed here, as the melodies appeal to large crowds. Exoticism and familiarity shake hands. All in all, it is an emotional, entertaining work of art.

The “afterimages” of the Helsinki City Theatre’s performance are both wonderfully sonorous and abundant in their visuals. Under Hans Berndtsson’s direction, the narrative is carried out more on the terms of the crowds and the music. It is a natural solution for this theatre’s musical expertise.

The rich choreography blossoms when the dancers throw themselves into it with their excellent skills. And the stage movement is otherwise intact and functional.

The silhouette-like houses in Ralf Forsström’s set design are picturesque, adaptable and can be worn with lights. The dream period of the story with its monster days is cleverly executed with humour. The wedding episode, on the other hand, represents the rising point in the musical, and it is carried out with full volume and intensity.

Esko Roine puts his mark on the main character and so the milkman becomes very much like Esko, which is not bad for that good character – excuse me, Tevye. This has presumably happened countless times before in this musical over the decades. The role usually falls on the most lovable actors. The audience comes to see their esko and doesn’t even want to be surprised – they just like what they see. And, of course, from what they heard, because the Tevy are singer boys.

Tevye is the head of the family who has troubles with the women. The wife is a stubborn kind and there are many daughters, not even a dowry. At the same time, new winds are blowing in the oppressive society. Groom candidates are hoped for, but they are a cause for concern. One is too poor, another too reform-minded, and a third too non-Jewish. Episodes and collisions are often comical and always thought-provoking. Roine skilfully shuttles from one situation to another in his role, snaps his lines with the right timing, is sensitive, puzzled but clever and keeps in touch with the “upstairs”, grumbles a little but settles for the twists and turns of fate.

As expected, the evergreen melodies Rikas mies jos oisin and Nousee päivä, laskee päivä were the highlights of the evening, and Mua rakastatko sung by Roine and Riitta Havukainen (Golde) also sunk in well with the audience. Raili Raitala’s (Hodel) interpretation of Far From a Beloved Home was also particularly beautiful and touching. The message of the song is the same for everyone who leaves their home, the wistfulness includes fear of the new, but if the background is strong, the identity also holds and the feeling of home is created alongside the loved one, even in foreign countries and conditions.

In a way, the female characters in the musical get their tone and personality as reflections of the male roles written to be more colourful, but also through their own strong vocal expression. This is the case with Golden and his daughters, Hodelin, Tzeitel/Anna-Maija Tuokko and Chavan/Marika Westerling.

Of the groom roles, Antti Lang is flexible both physically and verbally as the tailor Motel, while Tuukka Leppänen as Perchik and Antti Timonen as Fedka are convincing as steady, enthusiastic heralds of a new era. Timonen gets extra feathers in his hat from the pub singer’s golden-throated solos. Fiddler Mauri Saarikoski moves sovereignly both on the ground and above the rooftops, not to mention the heights of the musical world. Matti Olavi Ranin is very, very rabbi-like – I think – and funny at that.

In the final scene, the home village is emptied and only the sad Tevye remains in the spotlight of the stage.
As if abandoned. But he is not alone. The family just went ahead, tradition and faith come in its wake.