During the weeks leading up to the premiere of his latest stage show, Jason Alexander talked about his love for Fiddler on the Roof. Ever since he saw the show as a child, he dreamed of playing Tevye. It was a promise he made to his mother. As fans of the musical will recognize, this is not an easy promise to keep, especially for those on the younger side. After decades of an award-winning career, he has found his lifeline. With help from the creative team at La Mirada Theater, he brought his dream to life during a sold-out run that brought raves and ceaseless applause every night that he took the stage during its opening number “Tradition.”
While many begin the show by clapping for the beloved star, it’s likely that the curtain call is a result of the impressive effort put on by him and the entire cast. Much like the other shows that La Mirada has put on, they’re created from the ground-up. In this case, they pulled out the stops to bring an impressive Broadway-level production to Southern California that brings a spinning stage and a large ensemble dressed in dazzling period wear. It’s in the supporting cast that brings the story to life with heart and humor. It takes dedication to bring a story to life that knows how to smile in the face of life’s biggest tragedies. Thankfully, Alexander’s years in comedy allow everything to go down smoothly. Even his asides where he’s speaking to an unseen God have a timing that allows every resolution to resonate with the audience.
It helps that the journey of Tevye remains a timeless piece of theater. He is a man of tradition, believing that he has the last say in how his family operates. The comedy emerges when he discovers the changing tides that find him unable to control his daughters whose eagerness to marry men he disapproves of serves as a lot of key comedy. Somewhere amid the absurdity comes the humility of a man realizing the irony of his life. He dreamed that hard work would get him respect. He dreams of being a wise man who people turn to for advice and, instead, he’s still carrying a cart as his animal grows sicker. It takes an actor like Alexander to make someone with a temper like Tevye’s likable, especially as his insecurities give way to shouting for God to make things better. He understands that struggle is part of the deal but, as he learns quickly, that comes at a price. It leads to an emotional Act II where his love life is questioned before being left with a few devastating decisions that reflect the real battle of family and faith.
While the entire production is dazzling, Act I is where the most magic appears. The ensemble numbers are sprawling, turning bar room settings into elaborate dance numbers wonderfully choreographed to embody lavish ensemble routines. While the famous bottle dance comes later in the show, “To Life” is where the diversity shines brightest as an older, more conservative approach to dance interferes with more modern technique of the younger characters. It’s all a ridiculous courting ritual for Tevye’s daughter, but it lands thanks to the dedication of a cast who knows how to move bar tables quickly and sing triumphant harmonies. This is also true of the comic nightmare scene where instrumental motifs add to the comedic beats as Tevye concocts an absurd story about his ancestors.
The source material is rich and transcends the themes of Judaism into something more secular. Anyone approaching the show will understand the nature of Tevye’s struggles. The songbook being very catchy helps to make the messages of a parent coming to terms with a changing environment go down smoother. Struggles to feel like a vital part of the institution are at the heart of the story, and for as radical as it is to see children reject their parents’ wishes, it comes from a time-honored tradition of each generation finding their own voice. A lot of it is funny, but there’s also heartbreak and poignancy. Even as Tevye feels left behind by his loved ones, the book is expertly written to emphasize the ironies of his stubbornness. He makes a lot of sense but he’s also being ridiculous to not bend his morals just a smidge.
Alexander brings a lot to the role that’s endearing. While a lot of it feels like an extension of his schtick on shows like Seinfeld, there’s still enough humanity baked inside. The audience never laughs out of pity as a form of empathy. He may do things that are controversial, but he’s still presented with a wounded disappointment of the world. He’s never pathetic. There is a sense that he’ll endure with a smile on his face. The world may be falling apart, but he has a good sense of humor about it. In that respect, the actor to character is a perfect fit. His eagerness to play the role shines through in the small decisions that brings a unique take to someone who has been a mainstay to live theater for a long, long time.
La Mirada Theater have continued to elevate as one of the quintessential venues in Southern California. While they’ve had an excellent line-up the past few seasons, their production of Fiddler on the Roof alludes to even better things on the horizon. Their ability to put this much into their artists and craft proves that they’re capable of standing above the rest. If you’re in the area, it’s encouraged to check out what shows are playing because it’s bound to be a good time. While it’s doubtful it will have someone as buzzy as Jason Alexander, there’s still a chance that it’ll have some great actors ready to put on a good time.
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