Fiddler on the Roof is one of those stories that is both universal and specific. The story of an everyman trying to balance family and tradition in a changing world speaks to all of us, regardless of background or location.
The new production of Fiddler on the Roof in Yiddish is playing at the New World Stages in New York City. Directed by Joel Grey, Steven Skybell plays Teyve, the poor dairyman living in the Pale of Settlement in the early 20th century. He and his wife, Golde (Jennifer Babiak), they are raising five daughters under difficult circumstances.
Three of their five daughters are of age to marry. Tsaytl (Rachel Zatcoff), Hodl (Stephanie Lynn Mason), and Khave (Rosie Jo Neddy) marry for love instead of waiting for a husband to be presented to them. As each presents their potential spouse to their father, the thread of tradition begins to fray.
While Tevye is doing with familial issues, the outside is getting closer. Antisemitism is forcing reality all of the characters to face reality and the hard truth about their circumstances.
This production is fantastic. The fact that the characters speak in the mamaloshen (mother tongue) of Yiddish adds a level of gravity to the narrative. It is as if the audience is one step closer to the real people who called that time and place their own.
There is a moment (which I will not give away) that completely represents the message of Fiddler. It happens at the very end of the first act and as far as I know, has not been done in past productions. It is a breathtakingly horrible moment that I don’t think I will ever forget.
Seeing this adaptation in 2022 and knowing what is happening in Ukraine grounds it in a reality that I never expected. It is nothing short of a gut punch.
Do I recommend it? Absolutely.
Fiddler on the Roof in Yiddish is playing at the New World Stages in New York City until January 1st, 2023. Check the website for tickets and showtimes.
Fiddler on the Roof is one of those movies that we all know. Even if we have never seen the film or the various stage adaptations, the songs and the story are iconic in their own right.
In addition to interviews with the actors, the audience also is taken behind the scenes by director Norman Jewison (who despite his surname is not a member of the tribe) and musical director John Williams. Narrated by Jeff Goldblum, this is a love letter to a beloved narrative and characters who transcend time, culture, and religion.
I loved this movie. It was everything I could have wanted and more. The making of the original film was a labor of love for all involved. Told with authenticity, heart, and nothing but love, this documentary is nothing short of perfection.
Do I recommend it? Absolutely. I would even go as far as to say that this is one of my favorite movies of the year so far.
Fiddler’s Journey to the Big Screen is currently playing in theaters.
The accusation of sedition is a serious one. It is not to be taken lightly or without being unaware of the consequences of what is being said.
Back in 1918, the Sedition act of 1918 was enshrined as law. In a nutshell, it is described as follows:
“Willfully utter, print, write, or publish any disloyal, profane, scurrilous, or abusive language about the form of the Government of the United States”
I think most Americans would say that the so-called “protest” (aka riot) that happened on Wednesday afternoon is more than enough to strongly consider the allegation of sedition. Not just for you know who, but for his enablers, and those who stormed into the Capitol building hoping to overturn the results of the election.
Randy Rainbow release his new video this afternoon. Entitled “SEDITION! – A Randy Rainbow Parody“, it is a take-off on the song “Tradition” from the musical Fiddler on the Roof.
I have said many times that Rainbow is a genius. This time, I have no choice but to get on my figurative knees and bow down to this man. After the chaos and destruction, it is clear that changes must be made. It is also clear that we cannot just sweep what has happened under the rug. We need to face it head-on, take a good look in the mirror, and learn from our mistakes.
Happy Friday.
P.S. If there is one bright spot, it is that you know who has been permanently banned from Twitter.
Fans of Broadway musicals and students of Jewish history know the final scene of Fiddler on the Roof all too well. The Jewish residents of the fictional shtetl of Anatevka have been forced out of their homes by the local authorities. As they scatter to four winds, their fate is unknown. Presidential advisor Stephen Miller comes from this world. As do I and millions of Jews of Eastern European descent. But for any number of reasons, Miller has forgotten this history.
Hatemonger: Stephen Miller, Donald Trump, and the White Nationalist Agenda, written by journalist Jean Guerrero, was published in August. Miller grew up in a middle-class Jewish family in California. As a young man, his political beliefs began to swing to the extreme right, especially when it came to immigration. He was not shy about sharing his opinions, and like many with that perspective, couched his words in a way that would not immediately come off as racist.
After college, he went into politics, which ultimately led him to his current position working for you know who as a speechwriter and policymaker.
In my world, Miller would be described as a shanda (disgrace). As an American and a Jew, he has forgotten the traditions and the history that we carry with us. Without the United States, Miller’s family, like my family would have been part of the six million Jews who were murdered in the Holocaust.
There is nothing wrong with regulating who can come into this country. But as I see it, his policies are a bridge too far. There were moments while reading this book that I was both outraged and disgusted. While it was a good book, it was a smack in the face that hate, prejudice, and xenophobia is still alive and well in America in 2020.
The art of magic can be summoned in one word: distraction. The magician has the audience looking at their right hand. The card which is supposed to come out of nowhere is hidden in their left hand.
This has been the tactic of the current Presidential administration since day one. The most recent distraction can only be described as Obamagate.
Randy Rainbow’s latest video is entitled “DISTRACTION! – A Randy Rainbow Song Parody“. Based on the song Tradition from the musical Fiddler on the Roof, the song perfectly mocks how you know who is trying to hide from the fact that he let Covid-19 into the United States.
A President’s performance is measured by more than the general metrics from their time in office. They are measured by how they handled the day to day tasks. I would say (and I suspect that many others feel the same way), that this President has failed and deserves to be voted out in November.
It’s no secret that there is a lack of representation of minorities in Hollywood.
The success of Crazy Rich Asians over the past couple of weekends has proved that audiences of all backgrounds love a good story, regardless of the ethnicity of the characters. But, with the success, comes controversy.
I am not Asian or Asian American, but I understand where those who are criticizing the film are coming from.
It’s as if saying that Fiddler on the Roof does not represent the full Jewish experience. For those who are unaware, Fiddler On The Roof is the story of Tevye, a poor Jewish milkman and his family living in Russia in the early 20th century. Life is changing for Tevye and those in his immediate circle. He has five daughters, three of whom are of an age to marry. Each daughter, when it comes time to marry, moves farther and farther away from what is expected of her.
Fiddler is one of the handful of films that over the last few decades that represents Jews in a manner that is positive. None of the characters are token characters or strictly based on stereotypes. While it is certainly one of the most iconic Jewish films, it does not represent all Jews. Jews come from all over the world and are as varied as any group of people.
When it comes down to it, it’s about representation and fair representation. Crazy Rich Asians may not be perfect and may not represent the Asian ethnicity as a whole, but it’s certainly a step in the right direction that is a long time coming.
This will be my last character review post for Fiddler On The Roof. The next story/group of characters I will be writing about is……I’m not telling you. You will just have to come back to this blog and find out. Â
*Warning: This post contains spoilers in regards to the narrative and characters from the musical Fiddler On The Roof. Read at your own risk if you have not seen the movie or any of the stage adaptations.
There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.
In this series of weekly blog posts, I will examine character using the characters from Fiddler On The Roof to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.
Prejudice is unfortunately part and parcel of our daily lives. But even with the hatred and prejudice, there are still some that see the person, not the label based on culture or religion. In Fiddler On The Roof, most of the major characters are Jewish. There are a handful of non-Jewish characters, but for the most part, they are background players.
Except for Fyedka.
Fyedka is a young man of the Christian faith who falls in love with Chava, Tevye and Golde’s middle daughter. She is equally in love with him. But a marriage between a Jew and Christian, especially in pre-revolutionary Russia was a big no-no. Unlike his compatriots, Fyedka does not harass his Jewish neighbors. He is open-minded and treats them with courtesy and respect.
To sum it up: Sometimes a writer has to break the mold when creating a character. Fyedka could have been a stereotype, a Russian Christian peasant who hates his Jewish neighbors because they are Jews. But because he is compassionate, respectful and open-minded, he is proof that tolerance, understanding and dialogue between people of different cultures and religions is possible. The reader and the writer just has to be willing to take the first step.
*Warning: This post contains spoilers in regards to the narrative and characters from the musical Fiddler On The Roof. Read at your own risk if you have not seen the movie or any of the stage adaptations.
There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.
In this series of weekly blog posts, I will examine character using the characters from Fiddler On The Roof to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.
These days, it’s not uncommon to date or marry outside of one’s culture or religion. But we don’t have to travel back too far in history to a time when the worst thing a person could do was choose a spouse who was not part of their religion or culture. In Fiddler On The Roof, Chava is the third of Tevye and Golde’s five daughters. While her older sisters take baby steps when it comes to choosing their spouses, Chava takes a giant leap above her sisters. Not only does she marry a Christian boy, Fyedka, without her parent’s knowledge or approval, but also converts away from Judaism in the process.
Her father reacts as one would expect him to react. He pushes her away while she pleads for his blessing. In the end, Chava receives her father’s blessing for her marriage, if only reluctantly.
To sum it up: Some characters take baby steps toward who they will be. Others take giant steps toward that future persona. Neither is right or wrong, it is determined by the narrative and character arc. What the writer has to do is make sure that the arc for that particular character is organic and natural. If the character’s journey feels forced and inorganic, the reader/audience will know it. The last thing any writer wants is for their narrative and characters to feel forced and inorganic, it is a surefire way to push away the audience or reader. That is the last thing any writer wants.
*Warning: This post contains spoilers in regards to the narrative and characters from the musical Fiddler On The Roof. Read at your own risk if you have not seen the movie or any of the stage adaptations.
There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.
In this series of weekly blog posts, I will examine character using the characters from Fiddler On The Roof to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.
Revolutions are usually not started by the elder generation who are sometimes content to rest on their laurels and let life go on. Revolutions are usually started by young people who are idealistic, angry and willing to use their voice to fight against what they feel is an injustice. These young people are also the ones who are trying to shake the dust of off their elders and show them that the world is changing.
In Fiddler On The Roof, the idea of revolution is represented by the character of Perchik. Perchik is a young man who has come to Anatevka to shake the denizens out of their doldrums. Idealistic, modern and outspoken, Perchik does not exactly get along with his new neighbors, but Tevye is willing to give Perchik a chance. Perchik starts tutoring Tevye’s youngest daughters and starts on a Beatrice and Benedick relationship with Hodel, Tevye’s second eldest daughter.
Eventually Perchik gets up the courage to propose to Hodel, even though is not the most conventional of proposals. But before they can wed, Perchik is caught up in trouble and is sent to Siberia.
To sum it up: one way to see change in a character or a narrative is to introduce the idea of revolution, whether it is social, cultural or financial. The writers wisely used Perchik to represent the wider revolution that would engulf the world in Fiddler On The Roof as a whole. For a writer, it is more about how he or she uses change rather than just the act of the change itself. The change will happen, it is just a matter of how the writer enacts the change that affects the outcome of the whole story, not just the character who represents the change.
Writergurlny 
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