Superb choreography made show a success

A scene from Brigg Operatic Society's production of Fiddle on the Roof. EMN-141111-075754001
A scene from Brigg Operatic Society's production of Fiddle on the Roof. EMN-141111-075754001
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Members of Brigg Amateur Operatic Society excelled themselves with their latest thoughtful and well executed production.

The music in Fiddler on the Roof is well known and easily recognisable, and consequently this year’s show was always going to be enjoyable because of that.

The bitter-sweet story is set in a small village in Eastern Russia in 1905 among a traditional Jewish community of folk. It was the start of the Russian Revolution.

The best thing about this production was the excellence of the dancing. There was splendid choreography by Jo Hagerman and Betsy Brader and really colourful costumes from the team of Betsy Brader and Joan Yates.

Rod Wheat, treading the boards for his 19th production with the society, took the main part of Tevye admirably. His stage know-how was immediately evident; his voice was always strong. His role also provided a continuity through the whole show.

His wife Golde was played by Beverley Evans, who has sung in a number of societies across the north of England. Her experience also shone through to compliment a fine singing voice.

One of the big moves forward by the society in recent years has been the admirable involvement of young people. Becky Evans as Hodel, Lisa Smith as Tzietel and Sophie Haigh as Chava were Tevey’s three daughters. Their obvious dancing skills complimented excellent and well projected voices.

The younger daughters Shprinze and Bielke were played on alternate nights by Amy Sparkes and Keelie Barnes, and Charlotte Charlton and Lucy Dent in the alternate performance.

Others who distinguished themselves on stage were Ashley Bateson as Motel the Tailor, Max Garrod as Perchik the Student and Oliver Wood as Fyedka. There was of course the controversy they brought on by choosing their own partners against the tradition.

Mention must be made of Yente the Matchmaker, played by Helen Hucklesby, a veteran of a number of leading roles for the society. The role is a notoriously difficult one to play, but crucial to the story.

Directing a really capable orchestra was Simon Percey. Production was by Maggie Brader.

The well researched costumes and choreography really evoked Russia at the start of the revolution.

This was an excellent choice of production and all those who had the pleasure of seeing it must have been moved by the emotions it created.

Review by Peter Thompson