Here are a selection of photos from the show, thanks to Charlotte Thomson and Issac Lo for taking photos at the dress rehearsal and for Charlotte Thomson and Debbie Carrick for the Promotional photos.

EPSOM PLAYHOUSE
Autumn 2015

The year is 1905 and a Jewish community in Tsarist Russia is trying to eke out a living in its shtetl in the village of Anatevka. Tevye is a milkman who has a personal relationship with God in whom he confides all. He strives, very hard, to keep up the traditions of his faith, race and culture. He has five daughters, itself a problem but what is more pressing is trying to find husbands for the eldest three children.

CAST

CREATIVES

NODA REVIEW
Jon Fox

This emotional and iconic show based on the anti-Jewish pogroms in turn-of the century Czarist Russia has become one of the greatest musicals ever.

The director sensibly worked with very basic sets, Tevye's wooden house being wheeled on and off as required and other minimalist sets as necessary. Tevye's milk cart, a station platform, a sewing machine on a table, among the furniture on stage. The background was of a neutral sky and upright flats left and right framed the action.

The bleakness of the stage was surely to represent the very few possessions owned by Tevye and Golda's family. Their most precious possession was, of course, the family itself and the historic traditions of the Jewish people in Anatevka. It is the story of the lives of simple, uncomplicated folk set in 1905 Russia during the early days of the revolution with its stark contrast set against the time honoured traditions and relatively peaceful lives of the Jews living in the village.

The central character is Tevye, the milkman who supplies the village with its milk and cheese. He speaks regularly to God, puzzled as to why he should be so poor rather than a "rich man". Chris Evans as Tevye dominated the stage throughout and showed his huge stage presence and a sonorous, rich baritone singing voice. Monica Turnbull as Golda, his wife of 25 years, scolded and fretted to wonderful effect. She reminded him that though he was the Papa, she was, at the very least, his equal. The heady mix of love and frustration between these two marvellous performers underpinned this wonderful show.

A host of other talented performers added their talents to those of Chris and Monica. Emily Evans as the eldest daughter Tzeitel, in love with the penniless tailor Motel (Rick Qureshi) were both outstanding. Their love duet "Miracles of Miracles" was haunting and powerful.

The second daughter Hodel - Charlie Qureshi - did really well and the poignant "Far from the home I Love" was an emotional moment. She played opposite Daniel Crego-Bustelo as Perchik, the student. Daniel grew into his part after a rather underplayed beginning slightly lacking in attack.

Hannah Wade, as the third daughter Chava, defying Tevye by marrying outside her faith gave a moving performance opposite defiant Russian soldier Fyedka - Louis Tait - both forced to defy her father.

Julie Parker was the archetypal busybody matchmaker Yente fluttering throughout the show to splendid effect.

Nic Ash enacted the butcher Lazar Wolf with confidence and assurance. His argument with Tevye at Tzeitel's wedding reminded me of two great stags locking horns - great theatre!

I greatly liked the dream sequence with marvellous cameos by both Caron Robson as Fruma-Sarah and also Sandra Zeffman as Grandma Tzeitel. The ghostly effects, lighting and costumes were extremely effective, though I thought the company's white half-face masks rather modern looking. Perhaps make-up would have given more realistic effect!

Keith Robertshaw brought just the right balance to the Constable, forced against his personal wishes to disrupt the wedding while avowing respect for Tevye and his peers. Len Martin was an amusing Rabbi played with a light touch.

The two younger daughters were prettily played by Jess Tuoha and Seraphina Palmer as Shprintze and Bielke respectively. Alex Land was the Fiddler on the roof, playing for real, a nice touch.

There was not a less than top class company scene from the opening "Tradition" to the closing exodus from "Anatevka"; the tingling "Sabbath Prayer", energetic "To Life", "Sunrise, Sunset", "Wedding Dance" - wonderful bottle dance included - "The Rumour", all totally realistic and extremely moving.

John Harries-Rees, the highly regarded and most experienced of directors had thoroughly understood this show. The emotion present throughout was skilfully heightened at every turn and the ending with the Fiddler in freeze was magical.

The music under Martin Sargeson was well handled and supportive, though a little too loud at points in the "Dream" sequence. Kathryn Peters choreographed the huge mixture of ages wonderfully well. Lighting designer Simon Banks added greatly to the success as too did sound under Richard Elliott. Costumes were good and realistic for the period.

All in all this was a top class show of which ELOC can be very proud.