ER Tevye (Thomas Fiscilla) wishes he was a rich man.

Anatevka, Russia in 1905 might as well be Akron, Ohio in 2008. Air-headed, elitist republicans (small “r”) are running a corrupt government, but are about to be replaced by populist democrats (small “d”). The economy sucks. Basic goods are either unattainable or are too expensive for the citizens to purchase. People are losing their humble homes. Members of the community are trying as best they can to help cheer up — and cheer on — their neighbors.
The story of “Fiddler on the Roof” is based on an 1894 story written by Sholem Alecham. The 1964 musical that evolved features music by Jerry
Bock, lyrics by Sheldon Harrick and book by Joseph Stein. Remarkably, these three names are missing from the 32-page Civic Light Opera of South Bay Cities complimentary program. The show runs through Dec. 21 at the Redondo Beach Performing Arts Center.

So, why a fiddler on the roof? He’s not a real character in the story. But, as Tevye – the story’s centerpiece – explains in his opening monologue, “We are all fiddlers on the roof” attempting to make the best of things while trying hard not to fall. The title comes from works by Marc Chagall, a Jewish-Russian painter born in 1887 whose depictions of the times often included a fiddler. Chagall’s early work is honored through the sets of the CLOSBC show. His 1911 painting “Rain” is undoubtedly a model. Chagall’s later 20thcentury success was in surrealism, but if you
need drugs to enjoy his popular paintings at the museum, you needn’t worry upon entering the Redondo theater.
His early works actually look reasonably like the subjects he’s painting.
Credit for the sets, however, must go to the Fullerton Civic Light Opera, who leased the construction to CLOSBC.

Fear not. There are many local contributors who deserve praise. Musical Director Dennis Castellano is high on the list. Vocally, the score of "Fiddler” requires solo, duet, trio, ensemble performances, and everything in between. The cast, thanks to Castellano, sings with great precision, especially in the ensemble pieces. It must be noted that the
CLOSBC cast numbers 34, so ensemble singing can be daunting.
Castellano has molded his crew well. From the opening number,
“Tradition,” it quickly becomes apparent that the large group on stage is vocalizing with precise diction and near-perfect pitch. Castellano, director of the Music Theatre Program at UC Irvine and a regular director at many California playhouses, also leads the 17-piece orchestra. As per usual at CLOSBC, the accompaniment is spot on. Cameron Patrick’s violin playing is most laudable (kind of important with the word “fiddler” in the show’s title). Praise must also be given to sound designer John Feinstein, who two weeks ago won LA theater’s Ovation the cheap seats). Everything that happened on stage was pleasantly audible. With such a large cast, Feinstein must have been dealing with more micro-
phones than there are bars in Hermosa Beach. City Council need not worry: everything was shut down by 11 p.m. Jon Engstrom directed and choreographed the show. His credits are endless and include 11 CLOSBC productions, most recently “Annie Get Your Gun.” The show was well-cast and the big production numbers (including “To Life,” “The Dream” and “Anatevka”) were performed with much spirit. Cossacks did authentic Russian dances in “To Life,” and the full company employed moves (with clever effects) in “The Dream” that have never before been attempted in “Fiddler.” If Tevye from 1905 could have time-travelled to
Redondo Beach to witness this number Saturday night, he would have
scrambled back, quite confused, to the DeLorean in the parking lot.
There were many solid singers in the cast. Teyve’s wife Golde (Victoria
Strong) has a pleasing, controlled voice when she duets with Tevye (Thomas Fiscella) on “Sabbath Prayer” and “Do You Love Me?” It would have been nice if composer Jerry Bock would have written a solo or two for the character, especially as performed by Strong. “Far From the Home I Love,” sung by daughter Hodel (Michaelia Leigh), may be among the lesser-known pieces in the show.  Not for long if Leigh has anything to say (sing) about it. Her representation was tender and tearful and most effective.

Fiscella looks, acts, and moves about the stage like everyman’s image
of the slightly flawed milkman who is the crux of the story. His bearded visage and his booming voice are exactly what one would expect from a troubled milkman with five unmarried daughters. Fiscella sometimes forgets to concentrate on pitch during his vocals, which are many. Still, like Zero Mostel, who played the role on Broadway and in the 1971 film, he sells songs like “If I Were a Rich Man” because it takes only the opening monologue for him to suck the audience into his believable portrayal of the character.

This show should be a hit. After all, the songs need not be sold –
most everyone knows the majority of the score. It’s a good evening of
family entertainment. I saw many youngsters in the audience with
their parents. I also heard a dad or two trying to explain the circumstances of 1905 Russia to the kids between musical numbers. Good luck! I’ve got three grown offspring who would have a tough time defining the term “czar.”

“Fiddler on the Roof,” CLOSBC, Redondo Beach Performing Arts Center,
1935 Manhattan Beach Blvd., Redondo Beach. Through Dec. 21; Tuesday- Saturday, 8 p.m.; Sunday, 2 p.m.; Saturday matinees at 2 p.m. Dec. 13 and 20. Sunday evening, 7 p.m., Dec. 21. Tickets $45-$60. Call 310-372-4477 or visit www.civiclightopera.com.