Fiddler on the Roof
When and why did you first become interested in theatre?
I first became interested in theater in high school but
really didn’t follow up on that interest until university. However, I have
been involved with singing groups since I was in grade 7. Even before that we
had a good arts program in the elementary school growing up in southern
Oregon in the U.S. Through junior high and high-school I was involved in all
kinds of ensembles. From jazz choir, barbershop quartet, two large a cappella
choirs and competitive state choral competitions. It was in university though,
that I fell in love with acting. My experience at Acadia gave me exposure to
many different roles that really whet my palate for what I’m doing now.
Are they the same reasons that you continue to be involved
today?
I would say the biggest reason I’m involved to this day is
for love of community theater. It is a great place to develop your skill,
challenge your talent, and help encourage those who are just trying it for
the first time.
What are the challenges of the vocation?
This is not a vocation for me. I do this 100% volunteer.
What are the rewards?
I think the rewards are rooted in self achievement. For
example, in playing a role like Tevye, it’s like climbing a mountain and
coming down again. It’s this feeling of accomplishment that is very different
from a physical achievement. It’s mental, musical commitment, and a bit
physical as well. There’s a certain pressure that comes in being a lead role
where so many other cast members are relying on you to do your job. I love
that kind of pressure. And there is a little bit of “once you get a taste of
the stage and the exhilaration that comes with that kind of pressure, you
love it!”
How and why did you get involved with Fiddler on the Roof?
I love mountainous roles. This is a character that is huge
in personality, complicated in emotion, and mountainous in song. Just before
I took the role of Tevye, I played Sweeney Todd. So, within the same calendar
year I took on both roles. I love the complicated task of trying to
understand and capture the humanity of characters as they go through life
altering events. It is something I think we all need to do more often. In
addition, my daughter is involved in the production! That made it possible
for me to be involved.
I like the struggle of tradition. That is, the character has
difficulty with the progressiveness of his children. Something I think we all
have experienced or will experience. That is, our kids help lead us as
parents. They give us a little fuller understanding of humanity, electronics,
relationships, sexual orientation, all these things that, with a younger
perspective, can influence our tradition. Why we do things is often a question
that is never asked. We have our own beliefs based on the tradition from
which we are rooted, typically our family of origin. Tevye wrestles with
the changes in his life and comes to an understanding that he “just cannot
bend that far” when he learns that his daughter has married outside the
faith. But later he reaches back out in a way that tells us that the
evolution of tradition is present, no matter how small.
From your perspective, why is the production still important
and relevant today?
Humanity. This is one of the only musicals that ends in
tragedy. I mean in a historical fiction kind of way. The end of the
first act is a pogrom and the end of the show is exile. Truly profound
to act a role that many of the attending patrons can connect with either
personally or through a close friend or family member.
What can audiences expect to experience during the Spatz
Theatre performances?
One thing I will say as far as the performance goes - Stage
Prophets does an impeccable job of overall performance value. What I mean, is
the attention to details are second to none. For example, all the costumes
are handmade specific for the characters with the intention that they are
100% accurate. Rabbi Yakov Kerzner of the Beth Israel Synagogue was blown
away with the period representation of the set as well as the accuracy of the
prayer shawls and attire.
What are your thoughts on the current state of theatre in
Atlantic Canada?
I think the arts in general are well rooted in Atlantic
Canada. I think the marketing and cooperative nature of the different
groups could be improved a bit, but when you go looking for the arts…you
discover groups and venues that you were not aware of. I mean stage prophets
has been going for 17 years.
What's next on your creative & theatrical agenda?
It depends on my children. Ultimately, I would like to get more involved in the theatre scene in Halifax. We will have to see what opportunities present themselves.
Fiddler on the Roof
Saturday, November 2 @ 7.30pm
Sunday, November 3 @ 1.30pm & 7pm
Spatz Theatre, Halifax
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