Fierstein sings and kvetches just fine in 'Fiddler on the Roof'

FORT WORTH -- You say you were expecting Topol in the lead role of the touring production of Fiddler on the Roof, which opened a six-day run at Bass Hall on Tuesday night?

So what is Harvey Fierstein? Chopped liver?

No, the gravel-voiced actor is anything but that as Tevye, the troubled father of five daughters who tries to keep harmony in his home between complaint-filled chats with the Almighty.

And there is no end of things for him to kvetch about in the tiny Russian village he calls home, as he and his neighbors find themselves caught between their old world and a new one where a revolution is brewing.

Fierstein stepped into the role when Topol, one of the handful of actors who has made this role his own, had to leave what was to have been his farewell tour because of an injury. Fierstein's singing is a raspy croak and he can't dance.

But, fortunately for all us, that's just fine, because his part can be done by a great singer (like Theodore Bikel) or a not-so-great singer ( If I Were a Rich Man is one of the few numbers where Tevye could use some pipes). He acts the part exceptionally well, often drawing a laugh with just a perfectly timed gesture or expression.

The best aspect of this production, which is a joint presentation of Casa Mañana and Performing Arts Fort Worth, is the dancing. Director Sammy Dallas Bayes is credited with having "reproduced" the original choreography by Jerome Robbins for this show, which features music by Jerry Bock and lyrics by Sheldon Harnick. Hats off to both choreographers, because the production numbers in his show really sparkle.

Overall, there is hardly a weak link in the show. Only a few of the voices are really outstanding (Matthew Marks as Fyedka and Jamie Davis as Hodel are among the best), but all are adequate or better. The costuming and sets are as good as would expected of a production of this magnitude. And the pit orchestra does a fine job of supporting the onstage action.

In short, this classic of American musical theater gets just the sort of treatment it deserves.

So what's not to like?