Review: Viulunsoittaja katolla
The return of the beloved musical to the Helsinki City Theatre is a handsome and touching success
The premiere audience at the City Theatre has a nostalgic atmosphere. There are a lot of cultural people there, some of whom must have seen the violinist in the same place in 1966. The audience also includes actors who were present at the time, such as Heidi Krohn. At that time, the young Esko Roine was also involved, who this time plays the main role. Fiddler on the Roof is the most popular musical in Finland, and now we are excited to see if the new interpretation will increase the numbers even more.
The original text of Sholem Aleichem has been adapted into a musical by Joseph Stein, Jerry Bock and Sheldon Harnick. Esko Elstelä’s Finnish translation still works. The direction is spectacular, but also allows for delicate nuances, by Hans Berndtsson. Fiddler has a lot of memorable music, which resonates handsomely accompanied by an orchestra led by Markku Luuppala.
From the very beginning, Ralf Forsström’s romantic set and costume design take the atmosphere to the small village of Anatevka in Russia, a century ago. The Jewish community of the village lives on the basis of friendship, assistance and, above all, tradition. Standing out from the crowd is the poor milk merchant Tevye (Esko Roine), who opens up to the audience in a relaxed way about both his family politics and his relationship with God.
Tevye has a row of beautiful daughters who should be married wisely and willingly to rich men. The father also talks openly about his worries in his personal style to the sky. The first sing-along, Traditions, crystallizes the musical’s problem: Jewish tradition versus a changing world. The situation is followed by an enigmatic violinist (Mauri Saarikoski/Toivo Rolser).
The daughters of marriageable age are interpreted by Anna-Maija Tuokko, Raili Raitala and Marika Westerling. Everyone in a beautiful and personal way. The daughters’ marriage plans are different from what the father had hoped for. Tevy is joined by his wealth-wishing and grumpy but loyal spouse Golde (Riitta Havukainen ). How can Tevye fulfill the wishes of God, his wife, daughters, the village community, or even his own? The performance of the theme is based on this eternal, tinged with humour and tragedy. A grim addition is created by the political situation in which the Russians expel Jews on the basis of the Tsar’s law.
A lot of interesting characters emerge from the group. Eero Saarinen is delightfully excellent as a disappointed rival suitor who, due to his profession as a butcher, gets back on his feet despite the disappointment. The character of Antti Lang as a poor tailor is a funny encapsulation of entrepreneurship associated with Jews. The most impressive is Perchik, played by Tuukka Leppänen , a dissident teacher who wins the heart of the middle daughter, Hodel. The intellectual love contest between Leppänen and Raitala is enjoyable.
Under Berndtsson’s direction, Jewish traditions are brought out in the crowd scenes in a respectful and even cheerful way. The observance of the Sabbath is depicted sensitively, and in addition to Tevye’s home, candles are beautifully lit in all the windows of the village. Sometimes the men drink vigorously in the pub and especially dance. The absolute gems of the performance are the men’s dances designed by Rebecca Evanne . Klezmer music combined with men’s amazing Slavic dances is handsome to watch!
Esko Roine carries the role of Tevje well and touchingly. The character is folksy and easily approachable. The pain of giving up daughters and the resulting struggle are probably recognized by many. Roine excels at many of the nuances of acting. The character is at its most humorous when he tries to persuade his wife to accept a strange marriage deal with the help of pranks. Sensitivity and gentleness can be found in Roine’s and Havukainen’s duet Mua rakastatko.
Tevye’s role is at its most brutal when the man has had his fill and he denies his third daughter’s relationship. Roine has played hundreds of roles, but this one will certainly leave a mark on the hearts of Finns.
The realistic and even funny twists and turns of the story are tinged with tragedy. At the end, the Jews are expelled from their homes. The evacuation theme is probably the reason for the compassion experienced by Finns and the popularity of the musical. In the final shot, Roine’s character, who has given his all, is pulling an evacuation cart alone in the snow. The sight is desolate. In the background, the villages are burning, and a sad prayer rises from Roine’s mouth.
With the performance and especially the ending, the cryptic nature of the musical’s title is revealed. Life really is like being a violinist on the roof. Moments of happiness are suddenly replaced by a sloping surface, but it is precisely because of those small moments of happiness that we must be grateful for life. It has a message that does not expire.