By Dale King
The Broward Stage Door Theatre is back in full production mode about a month before most other performing arts venues have raised their opening night curtains.
The 22-year-old arts center in Margate is still riding the crest of its successful summer production of the jukebox musical, The Soul of Motor City, which is scheduled to conclude its lengthy run on Sunday – a nearly two-month extension from its planned July 19 finale.
In the meantime, Broward Stage has brought an intriguingly entertaining, true-to-life, rags-to-riches story to the large auditorium to begin the new season. The Rothschilds, a Tony Award-winning musical based on the story of a poor Jewish family’s rise from the ghettos of late 18th-century Europe to the heights of financial power and influence in the Napoleonic era and after, is already drawing large audiences.
In many ways, the tale looks and sounds like Fiddler on the Roof. And it should. The historical musical was the final collaboration between Jerry Bock and Sheldon Harnick, who penned the music and lyrics for the famed tale of Tevye, the village of Anatevka and the touching songs from the folks who scraped by with little money, living day to day with unflinching tenacity.
The Rothschilds may not be as well-known as other Bock-Harnick combines, but the show that opened in 1970 was nominated for nine Tony Awards and won two (including one for Hal Linden as the staunch, decisive father of the Rothschild brood, Mayer Rothschild).
The Broward version features Matthew Chizever as the elder Rothschild, a man whose manner, confidence level and overall demeanor are well-suited to being the patriarch of a family that grew to wield expertise and authority. Meredith Bartmon portrays wife and mother Gutele Rothschild, who gently yields to her powerful husband, but takes the reins when she must – for the sake of family, honor and nation.
Peter J. Loewy directs the show that features a stellar cast with fine stage skills and excellent voices. Scenery is minimal, but sufficient to support the performance. David Nagy is musical director, Dean Landhuis excels as lighting designer and Larry Bauman has created excellent period clothing as costume designer.
Based on the book by Sherman Yellen, the musical takes the audience to a crime-infested German ghetto where ambitious Mayer shapes a retail store into a financial center. He and Gutele have five sons, each of whom enters the business as soon as he is old enough.
As they grow, they and Mayer go head-to-head with leaders of nations to remedy the many restrictions and indignities heaped upon Jews. The five young financiers fan out across Europe, occasionally running into barriers. But with their father’s astute guidance, they eventually dominate European finance, help fund Napoleon’s defeat and batten down to secure a declaration of rights for the Jews from European heads of state.
After a double-cross by German Prince Metternich takes a deadly toll on Mayer, his children fight back and force the prince to keep his promise to guarantee rights to all, though it nearly bankrupts the family.
It may be hard to believe that music finds its way into a show that’s heavy with drama. It does – and some of it is a bit comic. One song talks about Napoleon, and how “we thought Bonaparte would be blown apart.”
Chizever displays his vocal strength and acting prowess early on, leading the ensemble in a rendition of “He Tossed a Coin.” He and Bartmon stand out as they sing, “One Room” and the look-ahead tune, “Sons.”
During most of the show, the five sons are portrayed as adults – Alex Salup as Amshel, Sebastian Lombardo as Solomon, Alexander Zenoz as Nathan, Rio Peterson as Jacob and Jonathan Eisele as Kalman. All bond nicely. And while they sometimes disagree, even to the point of throwing punches, they adore their parents and willingly take risks in the name of parental values.
Zenoz, as Nathan, seems to take charge of family forces in the field, but all five stay in touch with dad as they work their financial wizardry around Europe. He also offers a slightly humorous tune, “This Amazing London Town,” sung on the floor of the Royal Stock Exchange. It includes the line, “Tea’s hot,” meaning it’s a good trading commodity. (In fact, it isn’t).
The sons gain confidence in their trade, and all of them marry, but only Nathan’s courting and marriage to Hannah (Whitney Grace) is seen on stage. Grace has a soaring, operatic voice and a pleasing personal presence. Clearly, though, she takes no guff as she rebuffs Nathan’s many early proposals. Her performance of “I’m in Love, “I’m in Love” is admirable.
Troy Stanley takes on several roles, most showcasing his fine voice: Prince William, who sings “Pleasure and Privilege,” which opens the show on a regal note; Fouche, Herries and Metternich. In the latter incarnation, he leads the ensemble in a couple of songs that satirize government – “Have you ever seen a Prettier Little Congress?” and “Stability.”
Sean Dorazio portrays the guard, the banker, Mr. Blum and the grenadier. Tommy Paduano is Badurus and the banker while Arrow ZurSchmiede is Skeptic, a grenadier, the pauper and a banker. Charlotte Canter, Carly Gaynor, Peri Harris and Jacob Harris portray the four Rothschild boys as young children. (Kalman is born later).
The Rothschilds runs through Oct. 16 at the Broward Stage Door Theater, 8036 Sample Road, Margate. Tickets are $38-$42 ($16 for students) and are available by calling 954-344-7765 or visiting www.stagedoortheatre.com.