Curtain Calls
By Daily Bruin Staff
Jan. 21, 2002 9:00 p.m.
Wilshire Theatre Theodore Bikel and company
perform "Fiddler on the Roof" at Wilshire Theatre.
“Fiddler on the Roof” Wilshire Theatre (213)
365-3500. Through Jan. 27
The backdrop mélange of pale blue and bright purple sky
draws viewers in. The misshapen little cottages and the gnarled
trees transport the audience to a different land. At times, viewers
find themselves lost in the small Ukrainian village of Anatefka; at
other times, they realize they’re in a cold theater, watching
actors fight with a harsh Jewish accent. Such is “Fiddler On
The Roof” at the Wilshire Theatre. The musical captures the
audience with its simplicity, songs and characters. Audience
members will be drawn into the world of the Jewish village where
they encounter everyone: the creaky old rabbi (who needs to have
more lines ““ he was hilarious in everything from the dancing
scenes to his recitation of the Bible in gibberish), the tailor
(who needs a singing lesson or 10), the matchmaker, of course (who
needs to cut her vocal cords ““ her squeaks could wake the
dead), and of course, the milkman (who needs to be honored with the
“I’m 76 but can still out-sing and out-act everyone on
stage” award). Besides the characters, the musical numbers
shut everyone up in the audience, including little children ““
it’s a miracle. The first number, “Tradition,” is
a fantastical feat of choreography, synchronization and melody. The
actors are all onstage, singing about their daily lives and,
obviously, about the traditions of their small town. All eyes are
glued to the stage because of the harmony in their voices and
dancing techniques. Classic songs such as “Matchmaker,
Matchmaker” also enhance the play. The most exciting part by
far, during that song, is the complicated exchange of broomsticks
from singer to singer. Though the play seduces viewers into a world
of tradition and romance, the length of the first act and singing
ability of some actors can quickly scare them away. The tailor was
clearly lacking in vocal talent and the ghost of the
butcher’s dead wife screeches louder than a banshee in labor.
Earplugs are advised during these scenes. Overall, however, the
play is an amazing production. Suitable for any age group, it lures
everyone into a world where they can experience emotions with the
actors ““ everything from joy to sadness to anger. Definitely
a great outing for the family or a date, the play will catapult
audiences into a different world, but leave a bitter taste of
reality, reminding people of their own choices and activities.
Siddarth Puri
“Triumph of Love” UCLA Musical Theater
Workshop Schoenberg Hall 310-825-2101 (CTO) Jan. 25-27
 JANA SUMMERS UCLA’s Musical Theater Workshop students
perform "Triumph of Love." The UCLA Musical Theater Workshop
maintains a wealth of talent, occasionally tapping into it for
student musicals such as “Triumph of Love.”
Based on a 17th-century play, the show wonderfully varies in
styles from sultry jazz to classical restraint. As a result,
performers are given a perfect opportunity to show off their
versatility. The convoluted story goes something like this: a
princess falls in love with her mortal enemy, who she must woo in
the garden in which he has lived for most of his life. However,
since only men are allowed inside, the princess and her servant
dress as men looking for tutelage in enlightenment principles of
reason. But when the princess faces expulsion, she resorts to
seducing the garden’s leader and his sister, the only woman
allowed in the garden. The triple threat certainly is there. The
singing, dancing and acting exemplify both maturity and youthful
energy. Minglie Chen, who plays Princess Leonid, successfully
shifted between her masculine facade, her regular self, and her
ultra-sexed feminine alter ego. Myles Nye, who plays the
garden’s curmudgeonly gardener, provided comic relief with
his exaggerated movements. “Triumph” remains a somewhat
obscure musical, although it seems to have almost unceasing
enjoyability. Having the kind of gleeful hysteria seen in
“Moulin Rouge,” “Triumph” is a perfect
study break, since it is on the UCLA campus and costs about the
price of a movie ticket. Though next weekend’s cast
completely replaces last week’s, there should be no drop in
quality. Indeed, the wealth of talent at UCLA runs deep enough to
merit two casts of performances.
Howard Ho
