Fiddler on the Roof Original Broadway Cast Album Art

1964 musical

Fiddler on the Roof
Fiddler On The Roof Playbill.jpg

Playbill from the original Broadway product

Music Jerry Bock
Lyrics Sheldon Harnick
Book Joseph Stein
Ground Tevye and His Daughters
past Sholem Aleichem
Productions
  • 1964 Broadway
  • 1967 West End
  • 1976 Broadway revival
  • 1981 Broadway revival
  • 1983 West End revival
  • 1990 Broadway revival
  • 1994 W End revival
  • 2003 UK tour
  • 2004 Broadway revival
  • 2007 West Terminate revival
  • 2008 Britain tour
  • 2009 U.s.a. Bout
  • 2015 Broadway revival
  • 2018 US Bout
  • 2019 W Cease revival
Awards
  • 1965 Tony Award for Best Musical
  • 1965 Tony Award for Best Score
  • 1965 Tony Honor for Best Book
  • 1990 Tony Award for Best Revival of a Musical

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

The original Broadway production of the evidence, which opened in 1964, had the first musical theatre run in history to surpass 3,000 performances. Fiddler held the record for the longest-running Broadway musical for almost 10 years until Grease surpassed its run. The production was extraordinarily profitable and highly acclaimed. Information technology won 9 Tony Awards, including all-time musical, score, book, direction and choreography. Information technology spawned 5 Broadway revivals and a highly successful 1971 pic adaptation and has enjoyed enduring international popularity. It has as well been a popular option 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 past 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 plow of the 20th century. It is besides influenced by Life Is with People, past Mark Zborowski and Elizabeth Herzog.[2] Aleichem wrote a dramatic adaptation of the stories that he left unfinished at his decease, but 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, called Tevye and his Daughters, was produced Off-Broadway by Arnold Perl.[3] Rodgers and Hammerstein and then Mike Todd briefly considered bringing this musical to Broadway just 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 it was too culturally sanitized, "middlebrow" and superficial; Philip Roth, writing in The New Yorker, called it shtetl kitsch. For case, information technology portrays the local Russian officeholder as sympathetic, instead of brutal and cruel, as Sholom Aleichem had described him. Aleichem'southward stories concluded with Tevye alone, his wife 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 bear witness found the right balance for its time, even if not entirely authentic, to get "one of the start pop post-Holocaust depictions of the vanished earth of Eastern European Jewry".[3] Harold Prince replaced the original producer Fred Coe and brought in director/choreographer Jerome Robbins.[5] The writers and Robbins considered naming the musical Tevye, earlier landing on a title suggested past various paintings by Marc Chagall (Green Violinist (1924), Le Mort (1924), The Fiddler (1912)) that also inspired the original set design. Contrary to popular conventionalities, the "title of the musical does not refer to any specific painting".[6]

During rehearsals, one of the stars, Jewish actor Goose egg Mostel, feuded with Robbins, whom he held in contempt, considering Robbins had testified earlier the House Un-American Activities Committee and hid his Jewish heritage from the public. Other cast members besides had run-ins with Robbins, who reportedly "abused the cast, collection 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 customs of the Jews in the Russian shtetl of Anatevka in 1905, where their lives are equally precarious as the perch of a fiddler on a roof ("Tradition"). At Tevye'south dwelling, everyone is busy preparing for the Sabbath meal. His precipitous-tongued wife, Golde, orders their daughters, Tzeitel, Hodel, Chava, Shprintze and Bielke, about 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 girl. The next two daughters, Hodel and Chava, are excited most Yente's visit, just Tzeitel illustrates how it could have bad results ("Matchmaker, Matchmaker"). A daughter from a poor family must take whatsoever husband Yente brings, merely Tzeitel wants to ally her childhood friend, Motel the tailor.

Tevye is delivering milk, pulling the cart himself, equally his horse is lame. He asks God: Whom would information technology hurt "If I Were a Rich Human being"? The bookseller tells Tevye news from the outside world of pogroms and expulsions. A stranger, Perchik, hears their conversation and scolds them for doing zip more than talk. The men dismiss Perchik as a radical, only Tevye invites him domicile for the Sabbath repast and offers him food and a room in substitution for tutoring his ii youngest daughters. Golde tells Tevye to meet Lazar after the Sabbath simply does not tell him why, knowing that Tevye does not similar Lazar. Tzeitel is afraid that Yente will detect her a married man before Motel asks Tevye for her mitt. But Motel resists: he is agape of Tevye's atmosphere, 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 show that he tin can support a married woman. The family unit gathers for the "Sabbath Prayer".

After the Sabbath, Tevye meets Lazar for a drink at the village inn, bold mistakenly that Lazar wants to purchase his cow. Once the misunderstanding is cleared upwards, Tevye agrees to let Lazar marry Tzeitel – with a rich butcher, his daughter volition never desire for anything. All join in the celebration of Lazar'southward skilful fortune; fifty-fifty 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 be a "trivial unofficial sit-in" in the coming weeks (a euphemism for a minor pogrom). The Constable has sympathy for the Jewish customs but is powerless to prevent the violence.

The next morning, later Perchik's lessons with the younger sisters, Tevye'due south second daughter Hodel mocks Perchik'southward Marxist estimation of a Bible story. He, in turn, criticizes her for hanging on to the one-time traditions of Judaism, noting that the world is irresolute. To illustrate this, he dances with her, defying the prohibition confronting opposite sexes dancing together. The two begin to fall in honey. Later, a hungover Tevye announces that he has agreed that Tzeitel will ally Lazar Wolf. Golde is overjoyed, but Tzeitel is devastated and begs Tevye not to force her. Motel arrives and tells Tevye that he is the perfect match for Tzeitel and that he and Tzeitel gave each other a pledge to marry. He promises that Tzeitel will non starve equally his wife. Tevye is stunned and outraged at this alienation of tradition, but impressed at the timid tailor's display of courage. Afterwards some soul-searching ("Tevye'due south Monologue"), Tevye agrees to let them ally, only he worries almost how to pause the news to Golde. An overjoyed Motel celebrates with Tzeitel ("Miracle 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'south Dream"). Golde'due south grandmother Tzeitel returns from the grave to anoint the marriage of her namesake, but to Motel, non to Lazar Wolf. Lazar's 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 quickly counsels that Tzeitel must marry Motel. While returning from town, Tevye'due south 3rd daughter, the bookish Chava, is teased and intimidated by some gentile youths. One, Fyedka, protects her, dismissing the others. He offers Chava the loan of a book, and a secret human relationship begins.

The wedding twenty-four hours of Tzeitel and Motel arrives, and all the Jews join the anniversary ("Sunrise, Sunset") and the celebration ("The Hymeneals Dance"). Lazar gives a fine gift, but an argument arises with Tevye over the cleaved agreement. Perchik ends the tiff by breaking another tradition: he crosses the barrier betwixt the men and women to dance with Tevye'southward daughter Hodel. The commemoration ends abruptly when a group of Russians rides into the village to perform the "demonstration". They disrupt the party, damaging the wedding gifts and wounding Perchik, who attempts to fight dorsum, and wreak more devastation in the village. Tevye instructs his family unit to make clean up the mess.

Act II [edit]

Fiddler On the Roof by Lev Segal in Netanya, Israel

Months later, Perchik tells Hodel he must return to Kyiv to work for the revolution. He proposes marriage, admitting that he loves her, and says that he volition 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 match, especially as Perchik is leaving. When he forbids the spousal relationship, Perchik and Hodel inform him that they do non seek his permission, simply his approving. After more soul searching, Tevye relents – the earth is irresolute, and he must modify with it ("Tevye'south Rebuttal"). He informs the immature couple that he gives them his blessing and his permission.

Tevye explains these events to an astonished Golde. "Beloved", he says, "it's the new style." Tevye asks Golde, despite their own arranged matrimony, "Do Yous Love Me?" Later on dismissing Tevye'south question as foolish, she eventually admits that, afterwards 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 join him there. At the railway station, she explains to her father that her home is with her honey, wherever he may exist, although she will always love her family ("Far From the Home I Love").

Time passes. Motel has purchased a used sewing machine, and he and Tzeitel accept had a infant. Chava finally gathers the courage to enquire Tevye to let her spousal relationship to Fyedka. Again Tevye reaches deep into his soul, but marriage outside the Jewish organized religion is a line he volition not cross. He forbids Chava to speak to Fyedka again. 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, merely 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 have three days to pack up and leave the town. In shock, they reminisce about "Anatevka" and how hard information technology volition be to exit what has been their abode for then long.

As the Jews go out Anatevka, Chava and Fyedka stop to tell her family that they are also leaving for Kraków, unwilling to remain amid the people who could practise such things to others. Tevye still will not talk to her, but when Tzeitel says goodbye to Chava, Tevye prompts her to add "God be with you." Cabin and Tzeitel go to Poland besides but will join the balance of the family when they have saved upward enough coin. 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 v daughters. A firm supporter of the traditions of his faith, he finds many of his convictions tested by the actions of his iii oldest daughters.
  • Golde, Tevye's sharp-tongued wife.
  • Tzeitel, their oldest daughter, about xix. She loves her childhood friend Motel and marries him, even though he'south poor, begging her father not to force her to marry Lazar Wolf.
  • Hodel, their girl, about seventeen. Intelligent and spirited, she falls in beloved with Perchik and later joins him in Siberia.
  • Chava, their daughter, about fifteen. A shy and academic girl, who falls in love with Fyedka.
  • Motel Kamzoil, a poor but hardworking tailor who loves, and afterwards marries, Tzeitel.
  • Perchik, a student 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'south 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 wedlock for himself to Tzeitel.
  • Yente, the gossipy village matchmaker who matches Tzeitel and Lazar.
  • Grandma Tzeitel, Golde's expressionless grandmother, who rises from the grave in Tevye's "nightmare".
  • Fruma-Sarah, Lazar Wolf'southward dead wife, who also rises from the grave in the "nightmare".
  • Rabbi, the wise hamlet leader.
  • Lawman, the head of the local Russian police force, a Christian.

Casts [edit]

Role Original Broadway Production (1964)[9] Original Westward End Production (1967)[ten] 1971 moving-picture show[eleven] 1976 Broadway Revival [12] 1981 Broadway Revival[13] 1983 London Revival [14] 1990 Broadway Revival [15] 1994 London Revival [sixteen] 2004 Broadway Revival [17] 2007 London Revival [18] 2015 Broadway Revival [19] 2018 Off-Broadway Yiddish Production [20] 2019 West End Revival [21]
Tevye Nada 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 Cherry 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 Sally Tater 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 Bricklayer Harriet Bunton
Chava Tanya Evertt Caryl Little Neva Pocket-sized Nancy Tomkins Liz Larsen Lisa Jacobs Jennifer Prescott Adi Topol-Margalith Tricia Paoluccio Natasha Broomfield Melanie Moore Rosie Jo Neddy Nicola Brown
Cabin 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 Gold
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 Ballad 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 East. 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'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 Royal Theatre and in 1970 to the Broadway Theatre, and ran for a record-setting total of 3,242 performances.[24] The production was directed and choreographed past Jerome Robbins – his final original Broadway staging.[25] The set up, designed in the style of Marc Chagall's paintings, was by Boris Aronson.[26] A colorful logo for the production, also inspired by Chagall'southward work, was designed by Tom Morrow. Chagall reportedly did not like the musical.[4]

The bandage included Naught Mostel as Tevye the milkman, Maria Karnilova as his wife Golde (each of whom won a Tony for their performances), Beatrice Arthur as Yente the matchmaker, Austin Pendleton as Motel, Bert Convy equally Perchik the student revolutionary, Gino Conforti equally the fiddler, and Julia Migenes as Hodel. Mostel advertising-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 as Hodel, and Pia Zadora played the youngest daughter, Bielke. Both Peg Murray and Dolores Wilson fabricated extended appearances as 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'due south understudy in the original production, Paul Lipson, went on to announced equally Tevye in more than performances than whatsoever 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 part of Yente nine months into the run.[28] The production earned $one,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 interim awards for Mostel and Karnilova.[24]

The original London West Finish production opened on Feb 16, 1967, at Her Majesty's Theatre and played for ii,030 performances.[30] It starred Topol as Tevye, a role he had previously played in Tel Aviv, and Miriam Karlin equally Golde. Alfie Bass, Lex Goudsmit and Barry Martin somewhen took over as Tevye.[31] Topol afterwards played Tevye in the 1971 film adaptation, for which he was nominated for an Academy Award, and in several revivals over the adjacent four decades.[32] The show 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 start Broadway revival opened on December 28, 1976, and ran for 176 performances at the Wintertime Garden Theatre. Nada 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's New York State Theater. Information technology starred Herschel Bernardi as Tevye and Karnilova every bit Golde. Other cast members included Liz Larsen, Fyvush Finkel, Lawrence Leritz and Paul Lipson. Robbins directed and choreographed. The third Broadway revival opened on November xviii, 1990, and ran for 241 performances at the George Gershwin Theatre. Topol starred every bit Tevye, and Marcia Lewis was Golde. Robbins' product was reproduced by Ruth Mitchell and choreographer Sammy Dallas Bayes. The production won the Tony Award for Best Revival.

A 4th Broadway revival opened on February 26, 2004, and ran for 36 previews and 781 performances at the Minskoff Theatre. Alfred Molina, and later Harvey Fierstein, starred as Tevye, and Randy Graff, and subsequently Andrea Martin and Rosie O'Donnell, was Golde. Barbara Barrie and later Nancy Opel played Yente, Laura Michelle Kelly played Hodel and Lea Michele played Sprintze.[33] Information technology was directed by David Leveaux. This production replaced Yente's song "The Rumor" with a vocal for Yente and two other women called "Topsy-Turvy". The production was nominated for six Tonys but did non win whatsoever. In June 2014, to celebrate the show'due south 50th anniversary, a gala celebration and reunion was held at the Town Hall in New York City to do good National Yiddish Theatre Folksbiene, with appearances by many of the cast members of the various Broadway productions and the 1971 picture show, as well every bit Sheldon Harnick, Chita Rivera, Karen Ziemba, Joshua Bell, Jerry Zaks and others.[23] [34] [35]

The 5th Broadway revival began previews on November 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 every bit Tzeitel, Adam Kantor as Motel, Ben Rappaport every bit Perchik, Samantha Massell as Hodel and Melanie Moore equally Chava. Judy Kuhn replaced Hecht as Golde on November 22, 2016, for the last five weeks of the run.[36] Designers include Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting).[37] Initial reviews were generally positive, finding Burstein and the show touching.[38] The production was nominated for iii Tony Awards but won none. It closed on December 31, 2016, after 463 performances.[39]

London revivals [edit]

Fiddler was first revived in London in 1983 at the Apollo Victoria Theatre (a 4-month season starring Topol) and once more in 1994 at the London Palladium for two months and and so on tour, once more starring Topol, and directed and choreographed by Sammy Dallas Bayes, recreating the Robbins production.[40]

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

A revival played at the Menier Chocolate Factory from November 23, 2018, until March 9, 2019, directed by Trevor Nunn and starring Andy Nyman as Tevye and Judy Kuhn as Golde.[42] The product transferred to the Playhouse Theatre in the West End 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 Nov ii, 2019.[44] [45]

Other Uk productions [edit]

A 2003 national bout played for seven months, with a radical design, directed by Julian Woolford and choreographed by Chris Hocking. The product's minimalist set and costumes were monochromatic, and Fruma-Sarah was represented past a 12-foot puppet. 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 direction and choreography past 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 as Golde.[48]

Australian productions [edit]

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

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

Other notable North American productions [edit]

Topol in 'Fiddler on the Roof': The Good day Tour opened on January 20, 2009, in Wilmington, Delaware. Topol left the bout 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 adaptation, Fidler Afn Dakh, at the Museum of Jewish Heritage in New York City, under the management of Joel Grey, with a translation by Shraga Friedman that was first used in a 1965 Israeli production.[60] The cast included Jackie Hoffman as Yente, Steven Skybell equally Tevye, Daniel Kahn as Pertshik, Stephanie Lynne Bricklayer as Hodl and Raquel Nobile as Shprintze.[61] Previews began on July 4, and opening night was July fifteen, 2018. The production played through the end of that yr.[62] It then transferred to Stage 42, an off-Broadway theatre,[63] with Skybell, Hoffman, Bricklayer and Nobile reprising their roles. Previews began February 11, with opening night on Feb 21, 2019. Musical staging was past Staś Kmieć (based on the original choreography by Robbins), with prepare blueprint by Beowulf Boritt, costumes past Ann Hould-Ward, sound by Dan Moses Schreier and lighting past Peter Kaczorowski.[62] [64] The product closed on January 5, 2020.[65] It won the 2019 Drama Desk Laurels for Outstanding Revival of a Musical.[66]

International and amateur productions [edit]

The musical was an international hitting, with early productions playing throughout Europe, in S America, Africa and Australia; 100 different productions were mounted in the one-time Westward Frg in the starting time iii decades after the musical's premiere, and inside 5 years later on the plummet of the Berlin Wall, 23 productions were staged in the former East Germany; and information technology was the longest-running musical ever 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 by the Israeli impresario Giora Godik in the 1960s.[69] This version was and so successful that in 1965 Godik produced a Yiddish version translated by Shraga Friedman.[seventy] A 2008 Hebrew-linguistic communication production ran at the Cameri Theatre in Tel Aviv for more than six years. It was directed by Moshe Kepten, choreographed by Dennis Courtney and starred Natan Datner.[71] [72]

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

The musical receives about 500 amateur productions a year in the US alone.[76]

Flick adaptations and recordings [edit]

A motion picture version was released past United Artists in 1971, directed and produced by Norman Jewison, and Stein adjusted his own book for the screenplay. Chaim Topol starred. The film received more often than not positive reviews from film critics[77] and became the highest-grossing moving picture of 1971.[78] Fiddler received viii Oscar nominations, including All-time Picture, Best Director for Jewison, All-time 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'due south son). It won three, including best score/adaptation for arranger-usher John Williams.[79]

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

Theatre historian John Kenrick wrote that the original Broadway cast album released by RCA Victor in 1964, "shimmers – an essential recording in whatsoever show lover's collection", praising the cast. The remastered CD includes ii recordings non on the original album, the bottle dance from the nuptials scene and "Rumor" performed by 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 significant".[82] Kenrick writes that while the original Broadway cast version is the clear outset choice among recordings of this musical, he also likes the Columbia Records studio bandage album with Bernardi as Tevye; the motion-picture show soundtrack, although he feels that the pace drags a fleck; and some of the numerous foreign versions, including the Israeli, German and Japanese casts.[83]

MGM and producers Dan Jinks and Aaron Harnick are planning a new movie adaptation 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 picture almost the musical's history and legacy, Fiddler: A Miracle of Miracles, was released in 2019.[86]

Parodies [edit]

Parodies relating to the evidence accept included Antenna on the Roof (Mad magazine #156, January 1973), which speculated well-nigh the lives of Tevye's descendants living in an assimilated 1970s suburban America.[85] In the flick Mrs. Doubtfire (1993), Robin Williams parodies "Matchmaker".[87] In a 1994 Animaniacs parody, Pigeon on the Roof, the Goodfeathers decide to ally their girlfriends; vocal parodies include "Scorsese" ("Tradition"), "Egg Hatcher" ("Matchmaker") and others.[88] In 2001, the H. P. Lovecraft Historical Social club 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] Castilian comedian and TV-host Jose Mota parodied "If I Were a Rich Man" with the vocal "Si no fuera rico" ("If I weren't a rich man") during his 2008 New Year's Eve special.[90]

References to the musical on television have included a 2005 episode of Gilmore Girls titled "Jews and Chinese Nutrient", involving a production of the musical.[91] A skit by The Electrical Visitor about 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 every bit playing Tevye in a scene from Fiddler.[92] The 2nd episode of Muppets This evening, in 1996, featured Garth Brooks doing a slice 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 testify. A 2011 episode of NBC's Community, entitled "Competitive Vino Tasting", included a parody titled Fiddla, Please! with an all-blackness bandage dressed in Fiddler on the Roof costumes, singing "It's Hard to Be Jewish in Russia, Yo".[93] Chabad.org kicked off their 2008 "To Life" telethon with a pastiche of the fiddle solo and bottle trip the light fantastic from the musical.[94]

Broadway references have included Spamalot, where a "Grail dance" sends upward the "bottle dance" in Fiddler 's wedding scene.[95] In 2001, Chicago'south Improv Olympic produced a well-received parody, "The Roof Is on Fiddler", that used almost of the original book of the musical just replaced the songs with 1980s pop songs.[96] The original Broadway bandage of the musical Avenue Q and the Broadway 2004 revival cast of Fiddler on the Roof collaborated for a Broadway Cares/Equity Fights AIDS do good 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 past notable artists. For instance, in 1964, jazz saxophonist Cannonball Adderley recorded the album Fiddler on the Roof, which featured jazz arrangements of eight songs from the musical. AllMusic awarded the album four stars and states "Missive plays almost his peak; this is certainly the finest anthology by this particular sextet".[97] That same yr, Eydie Gormé released a single of "Matchmaker",[98] and jazz guitarist Wes Montgomery recorded the same tune 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 culling bands such as the Residents, Negativland, and the Magnetic Fields.[100] [101] Indie stone band Brilliant Eyes recorded an adaptation of "Sunrise, Sunset" on their 2000 album Fevers and Mirrors. Allmusic gave the album a favorable review,[102] and the online music magazine Pitchfork Media ranked information technology at number 170 on their listing of pinnacle 200 albums of the 2000s.[103] In 2005, Melbourne punk band Yidcore released a reworking of the unabridged prove chosen Trivial on Ya Roof.[104]

Gwen Stefani and Eve covered "If I Were a Rich Man" as "Rich Girl" for Stefani's 2004 debut solo album Dearest. Angel. Music. Baby. in 2004. The song was inspired by the 1993 British Louchie Lou & Michie One ragga version of the aforementioned name.[105] Stefani'southward version reached #7 on the Billboard Hot 100 chart, where it remained for over six months.[106] Information technology was certified golden past the RIAA[107] and nominated for a Grammy Accolade for Best Rap/Sung Collaboration.[108] Information technology was likewise covered in 2008 and 2009 past 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 Drum Corps International World Championships.[110]

Other song versions [edit]

The vocal "Sunrise, Dusk" is often played at weddings,[ commendation needed ] and in 2011 Sheldon Harnick wrote two versions of the vocal, suitable for same-sex weddings, with minor word changes. For instance, for male person couples, changes include "When did they abound to be so handsome".[111]

Awards [edit]

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

Its revivals take besides been honored. At the 1981 Tony Awards, Bernardi was nominated as best actor. Ten years later, the 1991 revival won for all-time revival, and Topol was nominated as best actor. The 2004 revival was nominated for six Tony Awards and three Drama Desk-bound Awards but won none. The 2007 W Cease revival was nominated for Olivier Awards for all-time revival, and Goodman was nominated every bit best role player. The 2019 West End revival won the Olivier Honor for best revival, and it received a further vii nominations.

Notes [edit]

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  7. ^ Bloom and Vlastnik, p. 98
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References [edit]

  • Bloom, Ken; Frank Vlastnik (October 1, 2004). Broadway Musicals: The 101 Greatest Shows of All Time. New York, New York: Blackness Dog & Leventhal Publishers. ISBNone-57912-390-2. , p. 98
  • Kantor, Michael; Laurence Maslon (2004). Broadway: the American musical . New York, New York: Bulfinch Press. ISBN0-8212-2905-two.
  • 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". Primal texts in American Jewish civilisation. 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 World's Most Beloved Musical. New York: St. Martin's Press. 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 Internet Broadway Database
  • Fiddler on the Roof study 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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