‘Give the people what they want’: Coeur d’Alene Summer Theatre delivers with ‘Fiddler on the Roof’ to open

When it comes to picking the first show for Coeur d’Alene Summer Theatre’s season, Executive Artistic Director Chuck Ethridge admits he likes to stick to a winning formula: Give the people what they want.

“For our first show of the season, we always want to do something big and popular … something beloved,” Ethridge said. “We ask our community ‘What do you most want to see on our stage?’ and for the last six years it’s always been the same request: ‘We want ‘Fiddler on the Roof’!”

The original Broadway production of “Fiddler” opened in 1964, winning nine Tony awards, including best musical, score, book, direction and choreography. It was the longest-running Broadway musical for almost 10 years.

Sounds easy enough to book a known show, but the reality is that for years, “Fiddler” wasn’t available for licensing. Until now.

Coeur d’Alene Summer Theatre’s season officially opens with “Fiddler on the Roof” at 7:30 p.m. Friday, June 28, at the Schuler Performing Arts Center at North Idaho College in Coeur d’Alene. “Fiddler” runs through July 7.

This much-anticipated production is the story about Tevye, a poor Jewish milkman and his five daughters. Tevye, with the help of his tight-knit Jewish community in his little Ukrainian village, tries to protect his children and instill them with traditional values in the face of changing social mores and the growing anti-Semitism of Czarist Russia. The universal theme of tradition cuts across barriers of race, class, nationality and religion, leaving audiences laughing, crying and highly entertained.

To sweeten the season opener, Ethridge even booked one of the best actors in the country right now playing Tevye, namely the critically acclaimed baritone John Payonk. The actor has appeared in more than 100 roles in opera, operetta and musical theater, and theater throughout the U.S. and abroad during his nearly three decades on stage.

Payonk’s interpretation of Tevye for the Light Opera Works’ production won accolades, including the prestigious After Dark Award for outstanding performance in a lead role. Of his performance, Chris Jones of the Chicago Tribune wrote, “Payonk’s Tevye is superbly sung, richly textured and highly satisfying.”

“We felt like we just needed somebody who’s very experienced at this huge role, the biggest in all of musical theater, to pull this off in the 17 days of rehearsals that we have,” Ethridge said. “He has this booming voice with such gentle gentility and masculinity. He’s the perfect father on stage.”

CST is one of the only professional theaters in the Inland Northwest region and the oldest performing arts organizations in Idaho, having originated in 1967. Ethridge noted that CST pays all of its actors and laborers, although there’s also an army of volunteers who help out too. The majority of the 30-person cast of “Fiddler” are local actors, and about 25% are hired from outside the region.

To further cement a knock-out opener, Ethridge sought out the celebrated director and choreographer Gary John La Rosa to direct. La Rosa’s ties to “Fiddler” are deep. The New York City native has performed in, directed and/or choreographed dozens of “Fiddler” productions worldwide. It was the first Broadway show he ever saw as a child; and then later he ended up cast in the Broadway revival, alongside the same actor he’d seen 25 years earlier.

Hiring La Rosa to come to Idaho to direct is a heartwarming reunion of sorts. He launched the same musical for CST 20 years ago.

“I’m very happy to return to Coeur d’Alene, after so many years, with this special show,” La Rossa said. “There are always new audiences experiencing the show for the first time, and so I want to deliver this classic of American musical theater to both those new audience members, as well as the folks who want to enjoy and revisit this great musical once again.”

What makes La Rosa’s vision of Fiddler special, according to Ethridge, is that the director recreates the original Jerome Robbins staging and choreography.

“I’ve seen more modern productions where they had Fruma Sarah flying and the fiddler flying and you know, that’s beautiful, you do you, that’s great,” Ethridge said. “But with this show, for me, you can’t beat the original version that everyone knows and loves.”

For La Rosa, it is important that the cultural and historical aspects of the production are truthful and accurate.

“My goal is to pass on this rich legacy and hopefully inspire both our cast and audience members alike,” La Rosa said.

Ukraine’s current war with Russia makes this show especially timely.

“The fictional village of Anatevka is set in the Ukraine and the current Russian dictator is not unlike Tsar Nicholas who was in power when this story takes place,” La Rosa said.

“Fiddler’s” depiction of the oppression of the Jewish people also strikes a chord right now, La Rosa said.

“Both scenarios remind us of the importance and urgent need for hope and unity.”