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Wanting Home Wanting Him Clip Art Fiddler on the Roof

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1964 musical

Fiddler on the Roof
Fiddler On The Roof Playbill.jpg

Playbill from the original Broadway production
Music Jerry Bock
Lyrics Sheldon Harnick
Book Joseph Stein
Footing Tevye and His Daughters
by Sholem Aleichem
Productions
  • 1964 Broadway
  • 1967 West Stop
  • 1976 Broadway revival
  • 1981 Broadway revival
  • 1983 Westward End revival
  • 1990 Broadway revival
  • 1994 West End revival
  • 2003 UK tour
  • 2004 Broadway revival
  • 2007 West Terminate revival
  • 2008 U.k. bout
  • 2009 United states of america Tour
  • 2015 Broadway revival
  • 2018 U.s. Bout
  • 2019 W Stop revival
Awards
  • 1965 Tony Laurels for Best Musical
  • 1965 Tony Award for Best Score
  • 1965 Tony Award for Best Book
  • 1990 Tony Award for All-time Revival of a Musical

Fiddler on the Roof is a musical with music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein, set in the Pale of Settlement of Majestic Russia in or around 1905. It is based on Tevye and his Daughters (or Tevye the Dairyman) and other tales past Sholem Aleichem. The story centers on Tevye, a milkman in the hamlet of Anatevka, who attempts to maintain his Jewish religious and cultural traditions equally outside influences encroach upon his family'southward lives. He must cope with the strong-willed deportment of his iii older daughters who wish to marry for dearest; their choices of husbands are successively less palatable for Tevye. An edict of the tsar eventually evicts the Jews from their village.

The original Broadway production of the show, which opened in 1964, had the first musical theatre run in history to surpass 3,000 performances. Fiddler held the tape for the longest-running Broadway musical for almost 10 years until Grease surpassed its run. The product was extraordinarily assisting and highly acclaimed. It won nine Tony Awards, including best musical, score, volume, direction and choreography. Information technology spawned five Broadway revivals and a highly successful 1971 film adaptation and has enjoyed indelible international popularity. It has also been a pop choice for school and community productions.[1]

Background [edit]

Fiddler on the Roof is based on Tevye (or Tevye the Dairyman) and his Daughters, a series of stories by Sholem Aleichem that he wrote in Yiddish between 1894 and 1914 about Jewish life in a village in the Pale of Settlement of Imperial Russian federation at the turn of the 20th century. It is too influenced by Life Is with People, by Mark Zborowski and Elizabeth Herzog.[ii] Aleichem wrote a dramatic adaptation of the stories that he left unfinished at his decease, only which was produced in Yiddish in 1919 by the Yiddish Art Theater and made into a film in the 1930s. In the late 1950s, a musical based on the stories, chosen Tevye and his Daughters, was produced Off-Broadway by Arnold Perl.[three] Rodgers and Hammerstein and then Mike Todd briefly considered bringing this musical to Broadway but dropped the idea.[four]

Investors and some in the media worried that Fiddler on the Roof might be considered "too Jewish" to attract mainstream audiences. Other critics considered that information technology was likewise culturally sanitized, "middlebrow" and superficial; Philip Roth, writing in The New Yorker, called information technology shtetl kitsch. For case, information technology portrays the local Russian officeholder every bit sympathetic, instead of brutal and savage, as Sholom Aleichem had described him. Aleichem's stories ended with Tevye alone, his married woman dead and his daughters scattered; at the end of Fiddler, the family members are alive, and most are emigrating together to America.[3] [4] The show found the right balance for its time, even if non entirely authentic, to become "one of the start popular post-Holocaust depictions of the vanished world of Eastern European Jewry".[three] Harold Prince replaced the original producer Fred Coe and brought in director/choreographer Jerome Robbins.[v] The writers and Robbins considered naming the musical Tevye, before landing on a title suggested by various paintings by Marc Chagall (Green Violinist (1924), Le Mort (1924), The Fiddler (1912)) that too inspired the original prepare pattern. Contrary to popular belief, the "title of the musical does not refer to any specific painting".[6]

During rehearsals, ane of the stars, Jewish role player Nix Mostel, feuded with Robbins, whom he held in contempt, considering Robbins had testified before the House Un-American Activities Commission and hid his Jewish heritage from the public. Other cast members also had run-ins with Robbins, who reportedly "driveling the bandage, drove the designers crazy [and] strained the good nature of Hal Prince".[4]

Synopsis [edit]

Act I [edit]

Tevye, a poor Jewish milkman with five daughters, explains the community of the Jews in the Russian shtetl of Anatevka in 1905, where their lives are every bit precarious as the perch of a fiddler on a roof ("Tradition"). At Tevye's home, everyone is busy preparing for the Sabbath meal. His sharp-tongued wife, Golde, orders their daughters, Tzeitel, Hodel, Chava, Shprintze and Bielke, nearly their tasks. Yente, the village matchmaker, arrives to tell Golde that Lazar Wolf, the wealthy butcher, a widower older than Tevye, wants to wed Tzeitel, the eldest daughter. The side by side two daughters, Hodel and Chava, are excited about Yente'south visit, but Tzeitel illustrates how it could have bad results ("Matchmaker, Matchmaker"). A girl from a poor family must have whatever husband Yente brings, but Tzeitel wants to marry her childhood friend, Cabin the tailor.

Tevye is delivering milk, pulling the cart himself, as his horse is lame. He asks God: Whom would it hurt "If I Were a Rich Human"? The bookseller tells Tevye news from the outside world of pogroms and expulsions. A stranger, Perchik, hears their conversation and scolds them for doing zippo more than talk. The men dismiss Perchik as a radical, just Tevye invites him dwelling for the Sabbath repast and offers him food and a room in exchange for tutoring his ii youngest daughters. Golde tells Tevye to meet Lazar later the Sabbath but does not tell him why, knowing that Tevye does non like Lazar. Tzeitel is afraid that Yente will discover her a husband before Motel asks Tevye for her mitt. But Motel resists: he is afraid of Tevye's temper, and tradition says that a matchmaker arranges marriages. Motel is also very poor and is saving up to buy a sewing machine before he approaches Tevye, to testify that he tin can support a wife. The family unit gathers for the "Sabbath Prayer".

After the Sabbath, Tevye meets Lazar for a drink at the hamlet inn, assuming mistakenly that Lazar wants to buy his cow. One time the misunderstanding is cleared up, Tevye agrees to allow Lazar marry Tzeitel – with a rich butcher, his daughter will never want for anything. All join in the celebration of Lazar'southward good fortune; even the Russian youths at the inn join in the celebration and show off their dancing skills ("To Life"). Outside the inn, Tevye happens upon the Russian Constable, who has jurisdiction over the Jews in the town. The Constable warns him that there is going to exist a "little unofficial sit-in" in the coming weeks (a euphemism for a small pogrom). The Lawman has sympathy for the Jewish community just is powerless to forestall the violence.

The adjacent morning time, after Perchik's lessons with the younger sisters, Tevye'south 2nd daughter Hodel mocks Perchik's Marxist interpretation of a Bible story. He, in plow, criticizes her for hanging on to the old traditions of Judaism, noting that the world is changing. To illustrate this, he dances with her, defying the prohibition against contrary sexes dancing together. The two brainstorm to fall in love. Later, a hungover Tevye announces that he has agreed that Tzeitel will marry Lazar Wolf. Golde is overjoyed, but Tzeitel is devastated and begs Tevye not to force her. Cabin arrives and tells Tevye that he is the perfect friction match for Tzeitel and that he and Tzeitel gave each other a pledge to ally. He promises that Tzeitel volition not starve as his married woman. Tevye is stunned and outraged at this alienation of tradition, only impressed at the timid tailor'south display of backbone. Afterward some soul-searching ("Tevye's Monologue"), Tevye agrees to allow them marry, simply he worries about how to break the news to Golde. An overjoyed Motel celebrates with Tzeitel ("Phenomenon of Miracles").

In bed with Golde, Tevye pretends to exist waking from a nightmare. Golde offers to interpret his dream, and Tevye "describes" it ("Tevye's Dream"). Golde's grandmother Tzeitel returns from the grave to bless the matrimony of her namesake, but to Motel, not to Lazar Wolf. Lazar'south formidable late wife, Fruma-Sarah, rises from her grave to warn, in graphic terms, of severe retribution if Tzeitel marries Lazar. The superstitious Golde is terrified, and she apace counsels that Tzeitel must marry Motel. While returning from town, Tevye's third daughter, the bookish Chava, is teased and intimidated past some gentile youths. One, Fyedka, protects her, dismissing the others. He offers Chava the loan of a book, and a surreptitious relationship begins.

The nuptials day of Tzeitel and Cabin arrives, and all the Jews bring together the ceremony ("Sunrise, Dusk") and the celebration ("The Nuptials Dance"). Lazar gives a fine gift, just an statement arises with Tevye over the broken agreement. Perchik ends the tiff by breaking another tradition: he crosses the barrier between the men and women to dance with Tevye'south daughter Hodel. The commemoration ends abruptly when a group of Russians rides into the village to perform the "demonstration". They disrupt the political party, damaging the wedding gifts and wounding Perchik, who attempts to fight dorsum, and wreak more destruction in the village. Tevye instructs his family to clean up the mess.

Human activity Ii [edit]

Fiddler On the Roof by Lev Segal in Netanya, Israel

Months later, Perchik tells Hodel he must render to Kyiv to work for the revolution. He proposes marriage, admitting that he loves her, and says that he will send for her. She agrees ("Now I Have Everything"). They tell Tevye that they are engaged, and he is appalled that they are flouting tradition by making their own lucifer, especially as Perchik is leaving. When he forbids the spousal relationship, Perchik and Hodel inform him that they do not seek his permission, only his approval. After more soul searching, Tevye relents – the world is changing, and he must alter with it ("Tevye's Rebuttal"). He informs the immature couple that he gives them his blessing and his permission.

Tevye explains these events to an astonished Golde. "Love", he says, "information technology'southward the new way." Tevye asks Golde, despite their own bundled wedlock, "Practice Y'all Dear Me?" Subsequently dismissing Tevye's question every bit foolish, she eventually admits that, after 25 years of living and struggling together and raising five daughters, she does. Meanwhile, Yente tells Tzeitel that she saw Chava with Fyedka. News spreads quickly in Anatevka that Perchik has been arrested and exiled to Siberia ("The Rumor/I Just Heard"), and Hodel is determined to bring together him in that location. At the railway station, she explains to her father that her dwelling house is with her beloved, wherever he may be, although she volition e'er love her family unit ("Far From the Home I Love").

Time passes. Motel has purchased a used sewing machine, and he and Tzeitel accept had a babe. Chava finally gathers the courage to ask Tevye to allow her marriage to Fyedka. Again Tevye reaches deep into his soul, but marriage outside the Jewish faith is a line he volition not cross. He forbids Chava to speak to Fyedka once more. When Golde brings news that Chava has eloped with Fyedka, Tevye wonders where he went wrong ("Chavaleh Sequence"). Chava returns and tries to reason with him, just he refuses to speak to her and tells the rest of the family to consider her dead. Meanwhile, rumors are spreading of the Russians expelling Jews from their villages. While the villagers are gathered, the Constable arrives to tell everyone that they take three days to pack up and leave the town. In shock, they reminisce almost "Anatevka" and how hard it will exist to leave what has been their home for then long.

As the Jews exit Anatevka, Chava and Fyedka end to tell her family that they are besides leaving for Kraków, unwilling to remain amidst the people who could do such things to others. Tevye however volition not talk to her, but when Tzeitel says cheerio to Chava, Tevye prompts her to add "God be with you." Motel and Tzeitel go to Poland too but will join the rest of the family when they have saved up enough money. As Tevye, Golde and their two youngest daughters go out the village for America, the fiddler begins to play. Tevye beckons with a nod, and the fiddler follows them out of the village.

Musical numbers [edit]

§ The 2004 revival featured a song for Yente and some women of the village (Rivka and Mirala) titled "Topsy Turvy", discussing the disappearing role of the matchmaker in society. The number replaced "The Rumor/I Just Heard".

Principal characters [edit]

All of the characters are Jewish, except as noted:[7] [8]

  • Tevye, a poor milkman with 5 daughters. A house supporter of the traditions of his religion, he finds many of his convictions tested by the deportment of his three oldest daughters.
  • Golde, Tevye's sharp-tongued wife.
  • Tzeitel, their oldest girl, about 19. She loves her childhood friend Motel and marries him, even though he's poor, begging her father non to force her to marry Lazar Wolf.
  • Hodel, their girl, virtually seventeen. Intelligent and spirited, she falls in beloved with Perchik and later joins him in Siberia.
  • Chava, their daughter, virtually 15. A shy and bookish girl, who falls in love with Fyedka.
  • Motel Kamzoil, a poor simply hardworking tailor who loves, and later marries, Tzeitel.
  • Perchik, a educatee revolutionary who comes to Anatevka and falls in love with Hodel. He leaves for Kiev, is arrested and exiled to Siberia.
  • Fyedka, a young Christian. He shares Chava's passion for reading and is outraged by the Russians' treatment of the Jews.
  • Lazar Wolf, the wealthy village butcher. Widower of Fruma-Sarah. Attempts to arrange a spousal relationship for himself to Tzeitel.
  • Yente, the gossipy village matchmaker who matches Tzeitel and Lazar.
  • Grandma Tzeitel, Golde'south dead grandmother, who rises from the grave in Tevye's "nightmare".
  • Fruma-Sarah, Lazar Wolf'south expressionless wife, who besides rises from the grave in the "nightmare".
  • Rabbi, the wise village leader.
  • Constable, the head of the local Russian police, a Christian.

Casts [edit]

Office Original Broadway Production (1964)[9] Original West End Production (1967)[x] 1971 picture[11] 1976 Broadway Revival [12] 1981 Broadway Revival[xiii] 1983 London Revival [14] 1990 Broadway Revival [fifteen] 1994 London Revival [16] 2004 Broadway Revival [17] 2007 London Revival [18] 2015 Broadway Revival [nineteen] 2018 Off-Broadway Yiddish Product [20] 2019 W End Revival [21]
Tevye Nothing Mostel Chaim Topol Zero Mostel Herschel Bernardi Chaim Topol Alfred Molina Henry Goodman Danny Burstein Stephen Skybell Andy Nyman
Golde Maria Karnilova Miriam Karlin Norma Crane Thelma Lee Maria Karnilova Thelma Ruby Marcia Lewis Sara Kestelman Randy Graff Beverley Klein Jessica Hecht Jennifer Babiak Judy Kuhn
Tzeitel Joanna Merlin Rosemary Nicols Rosalind Harris Elizabeth Hale Lori Ada Jaroslow Jane Gurnett Sharon Lawrence Jacquelyn Yorke Emerge White potato Frances Thoburn Alexandra Silber Rachel Zatcoff Molly Osborne
Hodel Julia Migenes Linda Gardner Michele Marsh Christopher Callan Donalyn Petrucci Andrea Levine Tia Riebling Jo John Laura Michelle Kelly Alexandra Silber Samantha Massell Stephanie Lynn Mason Harriet Bunton
Chava Tanya Evertt Caryl Piffling Neva Small Nancy Tomkins Liz Larsen Lisa Jacobs Jennifer Prescott Adi Topol-Margalith Tricia Paoluccio Natasha Broomfield Melanie Moore Rosie Jo Neddy Nicola Brown
Motel Kamzoil Austin Pendleton Jonathan Lynn Leonard Frey Irwin Pearl Michelan Sisti Peter Whitman Jack Kenny Neil Rutherford John Cariani Gareth Kennerley Adam Kantor Ben Liebert Joshua Gannon
Perchik Bert Convy Sandor Elès Paul Michael Glaser Jeff Keller James Werner Steven Mann Gary Schwartz Peter Darling Robert Petkoff Damian Humbley Ben Rappaport Drew Seigla Stewart Clarke
Fyedka Joe Ponazecki Tim Goodman Raymond Lovelock Rick Friesen Joel Robertson Christopher Snell Ron Bohmer Kieran Creggan David Ayers Michael Conway Nick Rehberger Cameron Johnson Matthew Hawksley
Lazar Wolf Michael Granger Paul Whistun-Jones Paul Mann Paul Lipson David Jackson Mark Zeller David Bacon David Wohl Victor McGuire Adam Dannheisser Bruce Sabath Dermot Canavan
Yente Beatrice Arthur Cynthia Grenville Molly Picon Ruth Jaroslow Maria Charles Ruth Jaroslow Margaret Robertson Nancy Opel Julie Legrand Alix Korey Jackie Hoffman Louise Golden
Grandma Tzeitel Sue Babel Heather Clifton Patience Collier Duane Bodin Susan Sheppard Clare Peters Kathy St. George Marsha Ward Haviland Stillwell Lori Wilner Lisa Fishman
Fruma Sarah Carol Sawyer Susan Paule Ruth Madoc Joyce Martin Sally Maters Jeri Sager Karen Davies Joy Hermalyn Jessica Vosk Jodi Snyder Gaynor Miles
Rabbi Gluck Sandor Terrence Soall Zvee Scooler Charles Mayer Alvin Myerovich Brian de Salvo Jerry Matz Jon Rumney Yusef Bulos Adam Grupper Adam B. Shapiro Fenton Gray
Constable Joseph Sullivan Derek Birch Louis Zorich Alexander Orfaly Paul E. Hart Peter Rutherford Mike O'Carroll Bruce Montague Stephen Lee Anderson Steve Fortune Karl Kenzler Bobby Underwood Craig Pinder

Productions [edit]

Original productions [edit]

Following its tryout at Detroit'due south Fisher Theatre in July and August 1964,[22] and then Washington in August to September,[23] the original Broadway production opened on September 22, 1964, at the Imperial Theatre, transferred in 1967 to the Majestic Theatre and in 1970 to the Broadway Theatre, and ran for a record-setting total of three,242 performances.[24] The product was directed and choreographed by Jerome Robbins – his last original Broadway staging.[25] The set, designed in the way of Marc Chagall's paintings, was past Boris Aronson.[26] A colorful logo for the production, too inspired by Chagall's piece of work, was designed past Tom Morrow. Chagall reportedly did not like the musical.[4]

The cast included Zero Mostel every bit Tevye the milkman, Maria Karnilova equally his married woman Golde (each of whom won a Tony for their performances), Beatrice Arthur as Yente the matchmaker, Austin Pendleton as Cabin, Bert Convy as Perchik the student revolutionary, Gino Conforti as the fiddler, and Julia Migenes as Hodel. Mostel ad-libbed increasingly as the run went on, "which drove the authors up the wall".[24] Joanna Merlin originated the role of Tzeitel, which was later assumed by Bette Midler during the original run. Carol Sawyer was Fruma Sarah, Adrienne Barbeau took a turn every bit Hodel, and Pia Zadora played the youngest daughter, Bielke. Both Peg Murray and Dolores Wilson made extended appearances equally Golde, while other stage actors who accept played Tevye include Herschel Bernardi, Theodore Bikel and Harry Goz (in the original Broadway run), and Leonard Nimoy. Mostel's understudy in the original production, Paul Lipson, went on to appear as Tevye in more performances than any other actor (until Chaim Topol), clocking over 2,000 performances in the role in the original run and several revivals.[27] Florence Stanley took over the function of Yente nine months into the run.[28] The production earned $1,574 for every dollar invested in it.[29] It was nominated for ten Tony Awards, winning nine, including Best Musical, score, book, direction and choreography, and acting awards for Mostel and Karnilova.[24]

The original London W Finish production opened on February 16, 1967, at Her Majesty'due south Theatre and played for 2,030 performances.[30] It starred Topol equally Tevye, a role he had previously played in Tel Aviv, and Miriam Karlin as Golde. Alfie Bass, Lex Goudsmit and Barry Martin somewhen took over every bit Tevye.[31] Topol later played Tevye in the 1971 film adaptation, for which he was nominated for an Academy Award, and in several revivals over the side by side four decades.[32] The prove was revived in London for short seasons in 1983 at the Apollo Victoria Theatre and in 1994 at the London Palladium.[ citation needed ]

Broadway revivals [edit]

The first Broadway revival opened on December 28, 1976, and ran for 176 performances at the Winter Garden Theatre. Nothing Mostel starred as Tevye. Robbins directed and choreographed. A second Broadway revival opened on July 9, 1981, and played for a limited run (53 performances) at Lincoln Center'south New York State Theater. It starred Herschel Bernardi every bit Tevye and Karnilova as Golde. Other cast members included Liz Larsen, Fyvush Finkel, Lawrence Leritz and Paul Lipson. Robbins directed and choreographed. The tertiary Broadway revival opened on November eighteen, 1990, and ran for 241 performances at the George Gershwin Theatre. Topol starred as Tevye, and Marcia Lewis was Golde. Robbins' production was reproduced by Ruth Mitchell and choreographer Sammy Dallas Bayes. The production won the Tony Award for Best Revival.

A fourth Broadway revival opened on Feb 26, 2004, and ran for 36 previews and 781 performances at the Minskoff Theatre. Alfred Molina, and later on Harvey Fierstein, starred equally Tevye, and Randy Graff, and subsequently Andrea Martin and Rosie O'Donnell, was Golde. Barbara Barrie and later on Nancy Opel played Yente, Laura Michelle Kelly played Hodel and Lea Michele played Sprintze.[33] Information technology was directed past David Leveaux. This product replaced Yente's song "The Rumor" with a vocal for Yente and 2 other women called "Topsy-Turvy". The production was nominated for six Tonys simply did not win any. In June 2014, to celebrate the show's 50th anniversary, a gala celebration and reunion was held at the Boondocks Hall in New York City to benefit National Yiddish Theatre Folksbiene, with appearances by many of the cast members of the various Broadway productions and the 1971 film, as well equally Sheldon Harnick, Chita Rivera, Karen Ziemba, Joshua Bell, Jerry Zaks and others.[23] [34] [35]

The fifth Broadway revival began previews on Nov 20 and opened on December 20, 2015, at the Broadway Theatre, with concept and choreography based on the original by Robbins. Bartlett Sher directed, and Hofesh Shechter choreographed. The cast starred Danny Burstein as Tevye, with Jessica Hecht as Golde, Alexandra Silber as Tzeitel, Adam Kantor as Motel, Ben Rappaport equally Perchik, Samantha Massell as Hodel and Melanie Moore equally Chava. Judy Kuhn replaced Hecht equally Golde on November 22, 2016, for the terminal 5 weeks of the run.[36] Designers include Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting).[37] Initial reviews were mostly positive, finding Burstein and the prove touching.[38] The production was nominated for three Tony Awards only won none. It airtight on Dec 31, 2016, after 463 performances.[39]

London revivals [edit]

Fiddler was starting time revived in London in 1983 at the Apollo Victoria Theatre (a four-month season starring Topol) and once again in 1994 at the London Palladium for two months and then on tour, again starring Topol, and directed and choreographed by Sammy Dallas Bayes, recreating the Robbins production.[40]

Subsequently a two-month tryout at the Crucible Theatre in Sheffield, England, a London revival opened on May nineteen, 2007, at the Savoy Theatre starring Henry Goodman as Tevye, Beverley Klein as Golde, Alexandra Silber equally Hodel, Damian Humbley as Perchik and Victor McGuire as Lazar Wolf. The production was directed by Lindsay Posner. Robbins' choreography was recreated past Sammy Dallas Bayes (who did the same for the 1990 Broadway revival), with boosted choreography past Kate Flatt.[41]

A revival played at the Menier Chocolate Factory from Nov 23, 2018, until March 9, 2019, directed past Trevor Nunn and starring Andy Nyman as Tevye and Judy Kuhn as Golde.[42] The production transferred to the Playhouse Theatre in the Westward Terminate on March 21, 2019, with an official opening on March 27.[43] Replacement players included Maria Friedman as Golde and Anita Dobson as Yente. The run closed on November ii, 2019.[44] [45]

Other UK productions [edit]

A 2003 national bout played for vii months, with a radical pattern, directed by Julian Woolford and choreographed by Chris Hocking. The production's minimalist gear up and costumes were monochromatic, and Fruma-Sarah was represented by a 12-foot boob. This production was revived in 2008 starring Joe McGann.[46]

The show toured the UK again in 2013 and 2014 starring Paul Michael Glaser as Tevye with management and choreography by Craig Revel Horwood.[47]

A revival played at Chichester Festival Theatre from July 10 to September 2, 2017, directed by Daniel Evans and starring Omid Djalili as Tevye and Tracy-Ann Oberman equally Golde.[48]

Australian productions [edit]

The original Australian production opened on June 16, 1967, at Her Majesty's Theatre in Sydney. It starred Hayes Gordon as Tevye and Brigid Lenihan as Golde.[49] The production ran for two years.[50] The first professional revival bout was staged by the Australian Opera in 1984 with Gordon once again playing Tevye. A immature Anthony Warlow played Fyedka.[51]

In 1998, 2005, 2006 and 2007, Topol recreated his role every bit Tevye in Australian productions, with seasons in Sydney,[52] Brisbane,[53] Melbourne,[54] Perth, Wellington and Auckland.[55] The musical was once again revived in Melbourne and Sydney in 2015–2016 with Anthony Warlow equally Tevye, Sigrid Thornton as Golde and Lior as Cabin.[56]

Other notable North American productions [edit]

Topol in 'Fiddler on the Roof': The Farewell Tour opened on January 20, 2009, in Wilmington, Delaware. Topol left the tour in November 2009 due to torn muscles. He was replaced by Harvey Fierstein[57] and Theodore Bikel.[58] The bandage included Mary Stout, Susan Cella, Bill Nolte, Erik Liberman, Rena Strober, and Stephen Lee Anderson.[59]

National Yiddish Theatre Folksbiene mounted a Yiddish accommodation, Fidler Afn Dakh, at the Museum of Jewish Heritage in New York City, under the direction of Joel Grey, with a translation by Shraga Friedman that was first used in a 1965 Israeli product.[60] The cast included Jackie Hoffman as Yente, Steven Skybell as Tevye, Daniel Kahn as Pertshik, Stephanie Lynne Mason equally Hodl and Raquel Nobile as Shprintze.[61] Previews began on July 4, and opening night was July 15, 2018. The product played through the stop of that year.[62] Information technology so transferred to Stage 42, an off-Broadway theatre,[63] with Skybell, Hoffman, Stonemason and Nobile reprising their roles. Previews began February 11, with opening night on February 21, 2019. Musical staging was past Staś Kmieć (based on the original choreography by Robbins), with set design past Beowulf Boritt, costumes by Ann Hould-Ward, sound by Dan Moses Schreier and lighting by Peter Kaczorowski.[62] [64] The production closed on Jan 5, 2020.[65] Information technology won the 2019 Drama Desk-bound Award for Outstanding Revival of a Musical.[66]

International and amateur productions [edit]

The musical was an international hitting, with early on productions playing throughout Europe, in S America, Africa and Australia; 100 unlike productions were mounted in the former West Germany in the first three decades after the musical's premiere, and within 5 years after the collapse of the Berlin Wall, 23 productions were staged in the former East Germany; and it was the longest-running musical always seen in Tokyo.[67] Co-ordinate to BroadwayWorld, the musical has been staged "in every metropolitan city in the earth from Paris to Beijing."[68]

A Hebrew language staging was produced in Tel Aviv past the Israeli impresario Giora Godik in the 1960s.[69] This version was so successful that in 1965 Godik produced a Yiddish version translated by Shraga Friedman.[70] A 2008 Hebrew-linguistic communication production ran at the Cameri Theatre in Tel Aviv for more than than half dozen years. It was directed by Moshe Kepten, choreographed past Dennis Courtney and starred Natan Datner.[71] [72]

Un violon sur le toît was produced in French at Paris's théâtre Marigny from November 1969 to May 1970, resuming from September to January 1971 (a total of 292 performances) with Ivan Rebroff as Tevye and Maria Murano as Golde. Another adaptation was produced in 2005 at the théâtre Comédia in Paris with Franck Vincent as Tevye and Isabelle Ferron as Golde.[73] The Stratford Shakespeare Festival produced the musical from Apr to October 2013 at the Festival Theatre directed and choreographed by Donna Feore. It starred Scott Wentworth as Tevye.[74] An Italian version, Il violinista sul tetto, with lyrics sung in Yiddish and the orchestra on stage also serving equally chorus, was given a touring production in 2004, with Moni Ovadia as Tevye and director; it opened at Teatro Municipale Valli in Reggio Emilia.[75]

The musical receives about 500 apprentice productions a yr in the United states alone.[76]

Film adaptations and recordings [edit]

A moving-picture show version was released past United Artists in 1971, directed and produced by Norman Jewison, and Stein adapted his own book for the screenplay. Chaim Topol starred. The film received more often than not positive reviews from motion picture critics[77] and became the highest-grossing film of 1971.[78] Fiddler received 8 Oscar nominations, including All-time Picture, All-time Manager for Jewison, Best Actor in a Leading Role for Topol, and Best Actor in a Supporting Role for Leonard Frey (as Motel; in the original Broadway production, Frey was the rabbi's son). It won three, including best score/adaptation for arranger-usher John Williams.[79]

In the film version, the grapheme of Yente is reduced, and Perchik's song to Hodel "Now I Take Everything" is cut and replaced by a scene in Kiev. The "Chagall color palette" of the original Broadway product was exchanged for a grittier, more realistic depiction of the village of Anatevka.[80] [81]

Theatre historian John Kenrick wrote that the original Broadway cast album released past RCA Victor in 1964, "shimmers – an essential recording in whatever evidence lover's collection", praising the cast. The remastered CD includes two recordings not on the original album, the canteen dance from the hymeneals scene and "Rumor" performed past Beatrice Arthur. In 2020, the recording was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically pregnant".[82] Kenrick writes that while the original Broadway bandage version is the clear commencement choice among recordings of this musical, he also likes the Columbia Records studio cast album with Bernardi as Tevye; the moving-picture show soundtrack, although he feels that the pace drags a bit; and some of the numerous foreign versions, including the Israeli, German language and Japanese casts.[83]

MGM and producers Dan Jinks and Aaron Harnick are planning a new film accommodation of the musical, with Thomas Kail directing and co-producing, and Steven Levenson penning the screenplay.[84]

Cultural influence [edit]

The musical's popularity has led to numerous references in popular media and elsewhere.[85] A documentary moving picture about the musical'due south history and legacy, Fiddler: A Phenomenon of Miracles, was released in 2019.[86]

Parodies [edit]

Parodies relating to the show have included Antenna on the Roof (Mad magazine #156, January 1973), which speculated about the lives of Tevye'due south descendants living in an assimilated 1970s suburban America.[85] In the moving-picture show Mrs. Doubtfire (1993), Robin Williams parodies "Matchmaker".[87] In a 1994 Animaniacs parody, Dove on the Roof, the Goodfeathers decide to marry their girlfriends; song parodies include "Scorsese" ("Tradition"), "Egg Hatcher" ("Matchmaker") and others.[88] In 2001, the H. P. Lovecraft Historical Society published a musical theatre and album parody called A Shoggoth on the Roof, which sets music from Fiddler to a story based on the works of H. P. Lovecraft.[89] Spanish comedian and Idiot box-host Jose Mota parodied "If I Were a Rich Man" with the vocal "Si no fuera rico" ("If I weren't a rich human") during his 2008 New Twelvemonth's Eve special.[xc]

References to the musical on television have included a 2005 episode of Gilmore Girls titled "Jews and Chinese Food", involving a product of the musical.[91] A skit by The Electric Visitor virtually a village fiddler with a fright of heights, and so he is accounted "Fiddler on the Chair". In the Family Guy episode "When You Wish Upon a Weinstein" (2003), William Shatner is depicted as playing Tevye in a scene from Fiddler.[92] The second episode of Muppets This night, in 1996, featured Garth Brooks doing a piece of "If I were a Rich Man" in which he kicks several chickens off the roof. "The Rosie Show", a 1996 episode of The Nanny, parodied the dream scene, when Mr. Sheffield fakes a dream to convince Fran not to be a regular on a TV show. A 2011 episode of NBC's Community, entitled "Competitive Wine Tasting", included a parody titled Fiddla, Please! with an all-black bandage dressed in Fiddler on the Roof costumes, singing "It's Difficult to Be Jewish in Russia, Yo".[93] Chabad.org kicked off their 2008 "To Life" telethon with a pastiche of the fiddle solo and canteen dance from the musical.[94]

Broadway references take included Spamalot, where a "Grail dance" sends upward the "bottle dance" in Fiddler 's wedding scene.[95] In 2001, Chicago's Improv Olympic produced a well-received parody, "The Roof Is on Fiddler", that used most of the original book of the musical just replaced the songs with 1980s pop songs.[96] The original Broadway cast of the musical Avenue Q and the Broadway 2004 revival cast of Fiddler on the Roof collaborated for a Broadway Cares/Disinterestedness Fights AIDS benefit and produced an approximately 10-minute-long show, "Avenue Jew", that incorporated characters from both shows, including puppets.

Covers [edit]

Songs from the musical have been covered by notable artists. For instance, in 1964, jazz saxophonist Missive Adderley recorded the album Fiddler on the Roof, which featured jazz arrangements of 8 songs from the musical. AllMusic awarded the album 4 stars and states "Cannonball plays near his elevation; this is certainly the finest album by this particular sextet".[97] That same twelvemonth, Eydie Gormé released a single of "Matchmaker",[98] and jazz guitarist Wes Montgomery recorded the same melody for his album Movin' Wes.[99] In 1999, Knitting Factory Records released Knitting on the Roof, a compilation CD featuring covers of Fiddler songs by alternative bands such equally the Residents, Negativland, and the Magnetic Fields.[100] [101] Indie rock band Bright Optics recorded an accommodation of "Sunrise, Sunset" on their 2000 anthology Fevers and Mirrors. Allmusic gave the album a favorable review,[102] and the online music mag Pitchfork Media ranked it at number 170 on their list of top 200 albums of the 2000s.[103] In 2005, Melbourne punk band Yidcore released a reworking of the entire bear witness called Fiddling on Ya Roof.[104]

Gwen Stefani and Eve covered "If I Were a Rich Human" as "Rich Girl" for Stefani'south 2004 debut solo album Beloved. Angel. Music. Baby. in 2004. The vocal was inspired by the 1993 British Louchie Lou & Michie One ragga version of the aforementioned name.[105] Stefani's version reached #7 on the Billboard Hot 100 chart, where it remained for over vi months.[106] It was certified gold past the RIAA[107] and nominated for a Grammy Award for Best Rap/Sung Collaboration.[108] It was also covered in 2008 and 2009 by the Capitol Steps, poking fun at Illinois politics, especially then-Governor Rod Blagojevich.[109] The Santa Clara Vanguard Drum and Bugle Corps performs the "Bottle Dance" from Fiddler as a "recurring trademark", including at the Pulsate Corps International World Championships.[110]

Other song versions [edit]

The song "Sunrise, Sunset" is often played at weddings,[ citation needed ] and in 2011 Sheldon Harnick wrote ii versions of the vocal, suitable for same-sex weddings, with pocket-size word changes. For case, for male couples, changes include "When did they abound to be and so handsome".[111]

Awards [edit]

Fiddler 's original Broadway production in 1964 was nominated for ten Tony Awards, winning nine, including All-time Musical, score, and book, and Robbins won for best direction and choreography. Mostel and Karnilova won as best leading actor and best featured extra. In 1972, the bear witness won a special Tony on condign the longest-running musical in Broadway history.

Its revivals have too been honored. At the 1981 Tony Awards, Bernardi was nominated as best actor. X years later, the 1991 revival won for best revival, and Topol was nominated as all-time role player. The 2004 revival was nominated for half dozen Tony Awards and three Drama Desk Awards but won none. The 2007 West Stop revival was nominated for Olivier Awards for best revival, and Goodman was nominated as best player. The 2019 West Cease revival won the Olivier Award for best revival, and information technology received a further seven nominations.

Notes [edit]

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  2. ^ Joselit, Jenna Weissman. "Fiddler on the Roof Distorted Sholem Aleichem", The New Republic, June 7, 2014, accessed Nov 3, 2014
  3. ^ a b c Solomon, Alisa. "How Fiddler Became Folklore", The Jewish Daily Frontwards, September i, 2006, accessed January 29, 2015
  4. ^ a b c d Brustein, Robert. "Dabble Shtick", The New York Review of Books, Dec 18, 2014, vol. 61, No. xx, pp. 82–83
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References [edit]

  • Flower, Ken; Frank Vlastnik (October ane, 2004). Broadway Musicals: The 101 Greatest Shows of All Fourth dimension. New York, New York: Black Dog & Leventhal Publishers. ISBN1-57912-390-2. , p. 98
  • Kantor, Michael; Laurence Maslon (2004). Broadway: the American musical . New York, New York: Bulfinch Press. ISBN0-8212-2905-2.
  • Rich, Frank. The Theatre Fine art of Boris Aronson (1987), Knopf ISBN 0-394-52913-8
  • Whitfield, Stephen J. (2003). "Fiddling with Sholem Aleichem: A History of Fiddler on the Roof". Key texts in American Jewish culture. New Brunswick, NJ: Rutgers University Press. ISBN0-8135-3221-3.

Farther reading [edit]

  • Altman, Richard (1971). The Making of a Musical: Fiddler on the Roof. Crown Publishers.
  • Isenberg, Barbara (2014). Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the Globe's Most Beloved Musical. New York: St. Martin'southward Printing. ISBN 978-0-312-59142-7.
  • Solomon, Alisa (2013). Wonder of Wonders: A Cultural History of Fiddler on the Roof. Metropolitan Books. ISBN 0805092609.

External links [edit]

  • Fiddler on the Roof at the Cyberspace Broadway Database
  • Fiddler on the Roof report guide
  • Fiddler on the Roof at Ovrtur
  • List of longest-running Broadway productions from Playbill

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Source: https://en.wikipedia.org/wiki/Fiddler_on_the_Roof

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