In the early 2000s, the magnificent building of the Oradea Theater, built in just two years according to the plans of the famous Viennese architects Fellner and Helmer, underwent a long renovation.

So, like the residents of the small town of Anatevka, the actors were asked to leave, to play in all kinds of more or less friendly places. The show that marked the return was Fiddler on the Roof (libretto: Joseph Stein, music: Jerry Bock, lyrics; Sheldon Garnick) therefore had a certain symbolic charge.

Beyond it, beyond other meanings associated with the multi-ethnic character of the city, Fiddler on the Roof from the Theater named after queen maria from Oradea started the process of rehabilitating the musical on Romanian stages. At which shows with music and dance were played, unfortunately, most of them were covers, with scenery and costumes from the existing onewith songs played before behind the ear. Simply Chicago since 2005 he has been trying IMPLEMENTATION genre professional. Then there will be others, also in the Theater in Oradea, as well as Rezvan Mazilu.

From 2011 to the present, with interruptions justified by bureaucratic procedures related to the renewal of reproduction rights, the musical, inspired mainly by the story Daughters of Tevye thanks to Shalom Aleheim, he plays to a full house in Oradea. Meanwhile, Romanian opera from Timisoara, the State Jewish Theater from Bucharest, the State Hungarian Theater from Cluj-Napoca also staged this tender story. A story about tradition, which is understood as a guarantor of the balance so necessary for life. A story about love and humanity, about the joys and vicissitudes of life, about people and their contradictions, about tolerance and intolerance, about what happens when the waters of history are troubled, and the innocent pay for the turmoil. About people who immediately become unwanted, who are suddenly asked to leave. Who see themselves forced to go on the path of wandering, hoping that once and for all they will still reach the harbor.

Of course, Fiddler on the Roof turn the page of history the chosen people (God, choose others too! exclaims Tevye the Milkman at one point), but the story also has a large and impressive degree of generality. What happened around 1905, during the time of the tsarist empire, in a small imaginary town called Anatevka, located, probably somewhere in Ukraine, is happening, unfortunately, even today, before our eyes. I think that including the actuality of the facts made it so only this year Fiddler on the Roof enter the repertoire of two more theaters. In the company Harag György from the Northern Theater in Satu-Mar and in the theater named after Chiki Yatexzin from Mier-Chuk.

the band Harag György of the Northern Theater in Satu Mare, director of the play Fiddler on the Roof it fell to the fate of Mark Ester. She did it professionally, showed touching, bright, sad, joyful. He did it with respect for the specifics of the genre, the rules that are conditioned by the granting of copyright, he respected the canons, norms, having the merit of stimulating the creative energy of the band.

The actors from Satmăra spoke funny, ironic and self-deprecating words and lines (self-irony is characteristic of Jewish humor), sad, and most importantly, full of wisdom, with obvious pleasure, dedication and involvement. They sang live, they proved a musical training against which very few objections could be raised (musical consultants: Manfredi Annamaria and Bakk David László), they danced (choreography: Darabos Peter, moving impeccably in the wooden decor proposed by Bodor Andrász), showed signs that they would be more comfortable in costumes designed by Kupas Anna. Instrumentalists Balasco Balash, Didi Peter, Lukacs Zholt, Simo Peter, Savuli Albert Karoi, Szekely Alpar joined the solid line-up. All members of the Philharmonic From Lipatti.

I remember several scenes from the play. Those wise concessions to all that corseting tradition would mean, the moments beautifully played by Tevye’s wonderful performer, Ruppert-Wench Gabor, his skeptically pantomimed dream, the love scene between Tevye and Golde (Nicolet Kovacs), the wedding scene between Zeitel ( Bogár Barbara) and the tailor Motl (Poszét Nándor) with his two copies, respectively the marriage between Hodel (Budizsa Evelyn) and Percsik (Szabó János Szillárd) and, later, Chava (Keresztes Ágnes) and Christian Fyedka (Erdei) Máté) I also refer attention to the appearance of the grandmother (Méhes Kati), or the talkative and gossipy Prokhachka (Kovács Eva), the sequence of Gogol’s assumptions about the arrest of Percsik, the hopes and disappointments of the Butcher (Péter Attila Zsolt), the modest, by no means exaggerated appearance of the policeman (Attila Dioseghi), aggressive the invasion of the gendarmes, the controlled comedy of the interventions of the rabbi (Nagy Orbán) or the tavern (Gaal Djula) and the Hatter (Varga Sandor). It plays out in obvious but well-measured complicity with the public, counting on its favor.- Read the full article and comment on Contributors.ro