Sunday Matinee: Fiddler on the Roof by Stage Right
Sunday Matinee: Fiddler on the Roofby Stage Right
1964’s Fiddler on the Roof (Book by Joseph Stein; Lyrics by Sheldon Harnick; Music by Jerry Bock) is a timeless classic of the traditional musical theatre format and reflects the tumultuous times of America in the 1960’s better than Hair could ever dream of doing. You better not be thinking: “What? Fiddler on the Roof? THAT old chestnut!!???!!” Today, I hope to enlighten you on the resounding voice contained within Fiddler and its relevance to the past century, this century and centuries to come. Fiddler demands respect, and despite the myriad of amateur and school productions you’ve probably had to sit through over the past thirty years (as well as the somewhat misguided but beautifully filmed movie version), its original form is actually one of the more sophisticated, influential and artistic achievements in the American musical theatre.
As I did last week, I like to start Sunday Matinee with a little-known fact: Many people know that Fiddler is based on a play written by Arnold Perl called, Tevye and his Daughters, based on Shalom Aleichem’s story, Tevye the Milkman. But, the title “Fiddler on the Roof” as well as the iconic imagery of the Fiddler used in the production does not come from that original source material. It comes from a series of paintings by Marc Chagall, the foremost Jewish/Russian painter of the 20th Century. Several of his paintings utilized the fiddler image to represent the precarious life of the Jews living in Eastern Europe at the time. The creative team of Fiddler recognized the powerful and poetic imagery and used it not only in the text of the show, but also set designer Boris Aronson used Chagall inspiration for the original Broadway production’s scenic elements as well.
I’m not going to bother with a *Spoiler Alert* on this post because if you haven’t seen Fiddler yet, I genuinely feel sorry for you and reading and learning the plot will actually do you some good! The full Fiddler plot is here.
Tradition:
When you first think of Fiddler, 9 times out of 10 you probably think of the lead character Tevye, with his hands raised singing If I Were a Rich Man. It is one of the many iconic images and phrases from Fiddler. But despite that, Tevye’s anthem of yearning for money and a comfortable life free from work should not be mistaken as the song representing the theme of Fiddler. It’s not even the main motivation for the Tevye character. The show’s theme and Tevye’s focus are revealed within the first five minutes of the show: (Editorial note: For any video examples in this post, I am purposely linking to high school productions so you can enjoy the purity and transcendent genius of the show. If teenagers can make it work, it’s a strong piece! Also, the energy and exuberance from a youthful cast and a youthful audience always makes the hair on my arm stand up straight.)
YouTube
“A fiddler on the roof. Sounds crazy, no? But in our little village of Anatevka, you might say every one of us is a fiddler on the roof, trying to scratch out a pleasant, simple tune without breaking his neck. It isn’t easy. You may ask, why do we stay here if it’s so dangerous? We stay because Anatevka is our home. And how do we keep our balance? That I can tell you in a word-TRADITION!”
Traditional values. Traditional families. Traditional gender roles. Traditional societal norms. Traditional religious rules and dogma. And, unquestioned adherence to those traditions: “You may ask, ‘where do these traditions come from?’ Well, I’ll tell you… {pause}… I don’t know. BUT IT’S A TRADITION!” This was the paradigm presented by Fiddler in its opening number. And the greatness of this opening number goes beyond the introduction of the themes and structures in the show, it also instantly introduces the audience to major characters, their personalities, the importance of the matchmaker, the penchant for loud and boisterous social conflicts which will be further revealed in the show, and the under-lying conflict with the gentiles. When one musical number can introduce all of this and set the stage for the plot and the social themes to be addressed, and yet still be entertaining and hummable, then you’ve got true greatness. When we discuss a great opening number, it’s time to address the master of the great opening number: Jerome Robbins.
Legendary director and choreographer Jerome Robbins has always preached the importance of an opening number. Robbins would frequently ask, “What is this show about?” until he got a satisfactory answer from the writers. When they reached the conclusion that ultimately Fiddler is about a complete breaking down of a former way of life and the ushering in of a new day full of new ideas, Robbins immediately helped construct Tradition. Robbins famously came to “fix” Stephen Sondheim’s first solo musical, A Funny Thing Happened on the Way to the Forum, which was having big trouble in out of town tryouts. At the time the opening number was a cute song called Love is in the Air, which set the stage for the love story of the show, but the main drive of the production was Zero Mostel and Jack Gifford’s hilarious performances. Robbins advised Sondheim to re-write the opening number to better reflect the bawdy, raucous humor contained in Larry Gelbart’s book. Almost overnight, Sondheim came up with, Comedy Tonight and the rest is Broadway history.
Robbins contribution to the creative process in Fiddler was just as instrumental. This was his first Broadway production with no real dance piece like in West Side Story or Small House of Uncle Thomas in King and I, Robbins last two mega-hits prior to Fiddler. Instead, this show was a triumph of storytelling through the art of staging rather then dance and he became the first director/choreographer to be so intertwined with the writing and creative development of a play. Until then, the formula for success on Broadway was to have a strong writing team deliver a show to George Abbot, and then let Mr. Abbot direct it. After Fiddler, the great directors and choreographers would join the writers in the collaborative effort like never before.
I’ve got FIVE daughters!
After tradition, we follow Tevye’s family through a critical time in their lives. The three oldest daughters are of marrying age and they eagerly await a visit from Yente, the matchmaker, a legendary role created by none other than Bea Arthur in the original Broadway production. The three daughters, Tzeitel, Hodel and Chava sing one of the most charming and elegant forms of the “I want” style of song for the musical theatre. An “I want” song, obviously, is a song where the character reveals to the audience their inner-most desires and allows the audience to root for and be a part of that character’s journey in getting what they desire. Alan Menken is the master of the “I want” song with “Somewhere That’s Green” from Little Shop, or Part of That World from The Little Mermaid. In Matchmaker, we learn about each daughter’s personalities and their desires, their interplay with each other, and the important concern they have about being stuck with a bad match. It is clear in this song, that they have no say in their future husband, a key plot point in Fiddler.
YouTube
Tzeitel:And you have your eye on the Rabbi’s son.
Hodel:Well, why not?We have only one Rabbi and he has only one son.Why shouldn’t I want the best?
Tzeitel:Because you’re a girl from a poor family.So whatever Yenta brings, you’ll take, right?Of course right!
Again, the elegant melding of lyrics and book to perfectly convey the characters needs as well as the major conflict keeping them from their dreams. And all of this put to an impossibly perfect melody that you feel like you will hum for the rest of the week. That’s what makes great musical theatre.
So through Tevye’s three eldest daughters we are introduced to the main conflict in the story: He wants to marry them off to the best possible husbands (based on his traditional criteria) and they wish to marry whom they, themselves choose (a revolutionary idea for Anatevka). And with this storyline comes the main cultural impact and societal message that Fiddler conveys. In 1964, the traditions and societal norms that were so grounded and reliable in the Western World were just starting to be upended (for better and for worse) and through Tevye, the Broadway audience could reflect their own struggles in accepting the radical changes going on around them.
The idea of Tevye resisting his 1st daughter’s desire to love the poor tailor that she has chosen for herself rather than the very old, but wealthy butcher that the Matchmaker has chosen for her seems quaint by today’s standards as well as 1964’s, but as the story progresses, Tevye is asked to continue to waiver and bend on his traditions and beliefs to the point where he cannot bend anymore. At a time when sons and daughters would soon be coming home from college with interchangeable hairstyles and wardrobes, Tevye’s problems resonated with the public, and still do. This was the generation that was about to be targeted with the offensive slogan: “Don’t trust anybody over thirty.” Watching Tevye cope with his troubles was no doubt good preparation for these poor folks and the trouble they were beginning to experience.
L’chiam, TO LIFE!
Another over-riding message in Fiddler is happiness and triumph through adversity. There is no doubt that the people of Anatevka had hard lives. They were poor. They lived in the Ukraine which was not really known for its lovely climate and living conditions. They were religiously and politically oppressed by the Tsarist police state. And yet, these people knew how to party! In the joyous tavern scene when Lazar Wolf, the butcher, is celebrating his engagement to Tevye’s daughter, we watch as the men of Anatevka explode with exuberance and a love of life that teaches the audience that life is for living and enjoying and we are to find happiness no matter what our circumstance. The same in the wonderful wedding scene which starts with the timeless Sunrise, Sunset which, again, conveys characters inner-most thoughts and melancholy at seeing their eldest child get married. The lyrics of Sunrise, Sunset are so wise and clean that it has also gained the status of timeless classic:
Is this the little girl I carried?Is this the little boy at play?I don’t remember growing olderWhen did they?
When did she get to be a beauty?When did he grow to be so tall?Wasn’t it yesterdayWhen they were small?
Sunrise, sunsetSunrise, sunsetSwiftly flow the daysSeedlings turn overnight to sunflowersBlossoming even as we gaze
Sunrise, sunsetSunrise, sunsetSwiftly fly the yearsOne season following anotherLaden with happiness and tears
But after that lyrical and dream-like song, the cast yells “Mazel Tov,” and the wedding celebration begins. A cacophony of dance highlighted by the iconic bottle dance performed by formally dressed, orthodox Jewish characters. This is not your standard vision for a show-stopping Broadway dance number, but when done with control, energy and passion it elicits screams of delight from the audience.
YouTube
L’chiam and The Wedding Dance, as well as Tevye’s overall approach to life with humor and whimsy provide a joyous lesson for the Fiddler audience: “Sure, life stinks, but what choice have you got but to smile and enjoy whatever little pleasures we get.” A smart guy I listen to would use that lesson as a formula for life-long happiness.
Bend, but don’t break.
It is Tevye’s third daughter, Chava, who provides him the greatest challenge. Like Tzeitel and Hodel before her, she presents her father with an ultimatum: Give my marriage your blessing or lose me as your daughter. But this time, Chava is marrying outside the faith. And although we see her fiancee associated with the Cossacks earlier in the play, he has renounced the Tsar and the pogroms in Anatevka because of his love for Chava. The only objectionable thing about him is that he is not Jewish and we discover that this is too much for Tevye to accept. And although inter-faith and inter-racial marriages are so common today, we are sympathetic to Tevye’s decision as it is a metaphor for the line that each of us has within ourselves. We recognize in Tevye that moment when each of us is prepared to say “Enough,” and even at the risk of losing the love of a family member, we must adhere to our principals. In this case, Tevye puts his love of God and how he was taught to observe that love higher than even his daughter and it comes across not as stubborn or bull-headed, it is seen as admirable.
And in the discomfort of this scene, after Tevye pronounces that “Chava is DEAD to us!” when learning of her eloping, the writers reward us with one of the sweetest and unappreciated songs from Fiddler providing the most moving moment in the piece:
Little Bird, Little ChavalehI dont understand what’s happening todayEverything is all a blurGentle and kind and affectionateThe sweet little bird you wereChavaleh, Chavaleh.
Little Bird, Little ChavalehYou were always such a pretty little thingEverybody’s favorite childGentle and kind and affectionateThe sweet little bird you wereChavaleh, Chavaleh
This is careful and brilliant writing. At a moment when our favorite character in the play, the one we have had the opportunity to be alone with on stage while he talks to God, therefore making us part of his conscious as he navigates these moral choices, at the moment when he could, potentially be unlikeable to us, the writers allow him to sing such exquisitely beautiful lyrics. As he wistfully remembers the young girl who had stolen his heart as a child, now breaking his heart as a young woman, we the audience are allowed to weep with Tevye rather than judge him for the choice he has made.
“Ya ha deedle deedle, bubba bubba deedle deedle dum”
You gotta love any show tune with Ya ha deedle deedle, bubba bubba deedle deedle dum as a genuine lyric. If I Were a Rich Man is a gift to any actor privileged to play the role of Tevye. In just over three minutes they get to convey, on behalf of Tevye, their humor, their desire, their love for their wife, their reverence, their passion, their pride and their humility all finished with the last tableau of their raised arms to the sky on the final beat of the song (Yul Brynner’s old secret for demanding a rousing cheer from the audience at the end of his solos). And the melody of Rich Man is so infectious that it stays with you forever after one listen.
Often times, the strength of a production of Fiddler is reliant on the strength of the actor playing the role. Therefore, debates have ensued for decades over who is the quintessential Tevye. Zero Mostel originated the role on Broadway and Chaim Topol was awarded the part in the Oscar-winning film. Two different types of actors you will never find. I feel personally cheated that I was never able to see Mostel play this part, but listening to the original Broadway cast recording almost makes me feel like I saw him. His performance leaps out of the speakers and I swear I can see him on stage. I was fortunate enough to see the great Paul Lipson, who actually holds the record for playing the role more than any other actor, more than 2,000 times. He understudied Herschel Bernardi in a production back in 1981 and it was my first exposure to the greatness of the role. I suppose you never forget your first Tevye.
The movie version of Fiddler is an astounding achievement as a film. It beautifully portrayed the realism of life in Anatevka and in being as realistic as it was, it ultimately failed as an adaptation of the stage musical. You see, by being as realistic as it was, it lost all of the charm that the stage production had. The stage production is presented as a whimsical fable that deals with very serious issues. The film comes across as a very serious important film which deals with serious and important issues…. Where’s the fun? The magic of Fiddler is that it addresses these serious issues without ever being too serious, or,worse, taking itself too seriously. It is written in a rhythm and pace that never forgets there is a live audience in the room with the actors. It never gets bogged down in melodrama. The seriousness of the situations sit in beautiful contrast to the joy and lighthearted love that the characters have for each other. In the film, the joy is gone and with it the magic that makes Fiddler so great.
Topol’s performance in the film is solid, it’s not his fault that the realism of the film undercuts his character’s charm and our sympathies for him. But, the good news is that Topol is now touring the USA with what they are calling his “Farewell Tour” of Fiddler, and if it is coming to your town, see it and take a child. Here is a link to the itinerary for the Fiddler tour.
So as the finale for this week’s Sunday Matinee, I offer a rare video of the great Zero Mostel. Out of costume, but bringing that joy and exuberance to the song that will always be his. Enjoy the magic:
YouTube
Stage Right is on Facebook
1964’s Fiddler on the Roof (Book by Joseph Stein; Lyrics by Sheldon Harnick; Music by Jerry Bock) is a timeless classic of the traditional musical theatre format and reflects the tumultuous times of America in the 1960’s better than Hair could ever dream of doing. You better not be thinking: “What? Fiddler on the Roof? THAT old chestnut!!???!!” Today, I hope to enlighten you on the resounding voice contained within Fiddler and its relevance to the past century, this century and centuries to come. Fiddler demands respect, and despite the myriad of amateur and school productions you’ve probably had to sit through over the past thirty years (as well as the somewhat misguided but beautifully filmed movie version), its original form is actually one of the more sophisticated, influential and artistic achievements in the American musical theatre.
As I did last week, I like to start Sunday Matinee with a little-known fact: Many people know that Fiddler is based on a play written by Arnold Perl called, Tevye and his Daughters, based on Shalom Aleichem’s story, Tevye the Milkman. But, the title “Fiddler on the Roof” as well as the iconic imagery of the Fiddler used in the production does not come from that original source material. It comes from a series of paintings by Marc Chagall, the foremost Jewish/Russian painter of the 20th Century. Several of his paintings utilized the fiddler image to represent the precarious life of the Jews living in Eastern Europe at the time. The creative team of Fiddler recognized the powerful and poetic imagery and used it not only in the text of the show, but also set designer Boris Aronson used Chagall inspiration for the original Broadway production’s scenic elements as well.
I’m not going to bother with a *Spoiler Alert* on this post because if you haven’t seen Fiddler yet, I genuinely feel sorry for you and reading and learning the plot will actually do you some good! The full Fiddler plot is here.
Tradition:
When you first think of Fiddler, 9 times out of 10 you probably think of the lead character Tevye, with his hands raised singing If I Were a Rich Man. It is one of the many iconic images and phrases from Fiddler. But despite that, Tevye’s anthem of yearning for money and a comfortable life free from work should not be mistaken as the song representing the theme of Fiddler. It’s not even the main motivation for the Tevye character. The show’s theme and Tevye’s focus are revealed within the first five minutes of the show: (Editorial note: For any video examples in this post, I am purposely linking to high school productions so you can enjoy the purity and transcendent genius of the show. If teenagers can make it work, it’s a strong piece! Also, the energy and exuberance from a youthful cast and a youthful audience always makes the hair on my arm stand up straight.)
YouTube
“A fiddler on the roof. Sounds crazy, no? But in our little village of Anatevka, you might say every one of us is a fiddler on the roof, trying to scratch out a pleasant, simple tune without breaking his neck. It isn’t easy. You may ask, why do we stay here if it’s so dangerous? We stay because Anatevka is our home. And how do we keep our balance? That I can tell you in a word-TRADITION!”
Traditional values. Traditional families. Traditional gender roles. Traditional societal norms. Traditional religious rules and dogma. And, unquestioned adherence to those traditions: “You may ask, ‘where do these traditions come from?’ Well, I’ll tell you… {pause}… I don’t know. BUT IT’S A TRADITION!” This was the paradigm presented by Fiddler in its opening number. And the greatness of this opening number goes beyond the introduction of the themes and structures in the show, it also instantly introduces the audience to major characters, their personalities, the importance of the matchmaker, the penchant for loud and boisterous social conflicts which will be further revealed in the show, and the under-lying conflict with the gentiles. When one musical number can introduce all of this and set the stage for the plot and the social themes to be addressed, and yet still be entertaining and hummable, then you’ve got true greatness. When we discuss a great opening number, it’s time to address the master of the great opening number: Jerome Robbins.
Legendary director and choreographer Jerome Robbins has always preached the importance of an opening number. Robbins would frequently ask, “What is this show about?” until he got a satisfactory answer from the writers. When they reached the conclusion that ultimately Fiddler is about a complete breaking down of a former way of life and the ushering in of a new day full of new ideas, Robbins immediately helped construct Tradition. Robbins famously came to “fix” Stephen Sondheim’s first solo musical, A Funny Thing Happened on the Way to the Forum, which was having big trouble in out of town tryouts. At the time the opening number was a cute song called Love is in the Air, which set the stage for the love story of the show, but the main drive of the production was Zero Mostel and Jack Gifford’s hilarious performances. Robbins advised Sondheim to re-write the opening number to better reflect the bawdy, raucous humor contained in Larry Gelbart’s book. Almost overnight, Sondheim came up with, Comedy Tonight and the rest is Broadway history.
Robbins contribution to the creative process in Fiddler was just as instrumental. This was his first Broadway production with no real dance piece like in West Side Story or Small House of Uncle Thomas in King and I, Robbins last two mega-hits prior to Fiddler. Instead, this show was a triumph of storytelling through the art of staging rather then dance and he became the first director/choreographer to be so intertwined with the writing and creative development of a play. Until then, the formula for success on Broadway was to have a strong writing team deliver a show to George Abbot, and then let Mr. Abbot direct it. After Fiddler, the great directors and choreographers would join the writers in the collaborative effort like never before.
I’ve got FIVE daughters!
After tradition, we follow Tevye’s family through a critical time in their lives. The three oldest daughters are of marrying age and they eagerly await a visit from Yente, the matchmaker, a legendary role created by none other than Bea Arthur in the original Broadway production. The three daughters, Tzeitel, Hodel and Chava sing one of the most charming and elegant forms of the “I want” style of song for the musical theatre. An “I want” song, obviously, is a song where the character reveals to the audience their inner-most desires and allows the audience to root for and be a part of that character’s journey in getting what they desire. Alan Menken is the master of the “I want” song with “Somewhere That’s Green” from Little Shop, or Part of That World from The Little Mermaid. In Matchmaker, we learn about each daughter’s personalities and their desires, their interplay with each other, and the important concern they have about being stuck with a bad match. It is clear in this song, that they have no say in their future husband, a key plot point in Fiddler.
YouTube
Tzeitel:And you have your eye on the Rabbi’s son.
Hodel:Well, why not?We have only one Rabbi and he has only one son.Why shouldn’t I want the best?
Tzeitel:Because you’re a girl from a poor family.So whatever Yenta brings, you’ll take, right?Of course right!
Again, the elegant melding of lyrics and book to perfectly convey the characters needs as well as the major conflict keeping them from their dreams. And all of this put to an impossibly perfect melody that you feel like you will hum for the rest of the week. That’s what makes great musical theatre.
So through Tevye’s three eldest daughters we are introduced to the main conflict in the story: He wants to marry them off to the best possible husbands (based on his traditional criteria) and they wish to marry whom they, themselves choose (a revolutionary idea for Anatevka). And with this storyline comes the main cultural impact and societal message that Fiddler conveys. In 1964, the traditions and societal norms that were so grounded and reliable in the Western World were just starting to be upended (for better and for worse) and through Tevye, the Broadway audience could reflect their own struggles in accepting the radical changes going on around them.
The idea of Tevye resisting his 1st daughter’s desire to love the poor tailor that she has chosen for herself rather than the very old, but wealthy butcher that the Matchmaker has chosen for her seems quaint by today’s standards as well as 1964’s, but as the story progresses, Tevye is asked to continue to waiver and bend on his traditions and beliefs to the point where he cannot bend anymore. At a time when sons and daughters would soon be coming home from college with interchangeable hairstyles and wardrobes, Tevye’s problems resonated with the public, and still do. This was the generation that was about to be targeted with the offensive slogan: “Don’t trust anybody over thirty.” Watching Tevye cope with his troubles was no doubt good preparation for these poor folks and the trouble they were beginning to experience.
L’chiam, TO LIFE!
Another over-riding message in Fiddler is happiness and triumph through adversity. There is no doubt that the people of Anatevka had hard lives. They were poor. They lived in the Ukraine which was not really known for its lovely climate and living conditions. They were religiously and politically oppressed by the Tsarist police state. And yet, these people knew how to party! In the joyous tavern scene when Lazar Wolf, the butcher, is celebrating his engagement to Tevye’s daughter, we watch as the men of Anatevka explode with exuberance and a love of life that teaches the audience that life is for living and enjoying and we are to find happiness no matter what our circumstance. The same in the wonderful wedding scene which starts with the timeless Sunrise, Sunset which, again, conveys characters inner-most thoughts and melancholy at seeing their eldest child get married. The lyrics of Sunrise, Sunset are so wise and clean that it has also gained the status of timeless classic:
Is this the little girl I carried?Is this the little boy at play?I don’t remember growing olderWhen did they?
When did she get to be a beauty?When did he grow to be so tall?Wasn’t it yesterdayWhen they were small?
Sunrise, sunsetSunrise, sunsetSwiftly flow the daysSeedlings turn overnight to sunflowersBlossoming even as we gaze
Sunrise, sunsetSunrise, sunsetSwiftly fly the yearsOne season following anotherLaden with happiness and tears
But after that lyrical and dream-like song, the cast yells “Mazel Tov,” and the wedding celebration begins. A cacophony of dance highlighted by the iconic bottle dance performed by formally dressed, orthodox Jewish characters. This is not your standard vision for a show-stopping Broadway dance number, but when done with control, energy and passion it elicits screams of delight from the audience.
YouTube
L’chiam and The Wedding Dance, as well as Tevye’s overall approach to life with humor and whimsy provide a joyous lesson for the Fiddler audience: “Sure, life stinks, but what choice have you got but to smile and enjoy whatever little pleasures we get.” A smart guy I listen to would use that lesson as a formula for life-long happiness.
Bend, but don’t break.
It is Tevye’s third daughter, Chava, who provides him the greatest challenge. Like Tzeitel and Hodel before her, she presents her father with an ultimatum: Give my marriage your blessing or lose me as your daughter. But this time, Chava is marrying outside the faith. And although we see her fiancee associated with the Cossacks earlier in the play, he has renounced the Tsar and the pogroms in Anatevka because of his love for Chava. The only objectionable thing about him is that he is not Jewish and we discover that this is too much for Tevye to accept. And although inter-faith and inter-racial marriages are so common today, we are sympathetic to Tevye’s decision as it is a metaphor for the line that each of us has within ourselves. We recognize in Tevye that moment when each of us is prepared to say “Enough,” and even at the risk of losing the love of a family member, we must adhere to our principals. In this case, Tevye puts his love of God and how he was taught to observe that love higher than even his daughter and it comes across not as stubborn or bull-headed, it is seen as admirable.
And in the discomfort of this scene, after Tevye pronounces that “Chava is DEAD to us!” when learning of her eloping, the writers reward us with one of the sweetest and unappreciated songs from Fiddler providing the most moving moment in the piece:
Little Bird, Little ChavalehI dont understand what’s happening todayEverything is all a blurGentle and kind and affectionateThe sweet little bird you wereChavaleh, Chavaleh.
Little Bird, Little ChavalehYou were always such a pretty little thingEverybody’s favorite childGentle and kind and affectionateThe sweet little bird you wereChavaleh, Chavaleh
This is careful and brilliant writing. At a moment when our favorite character in the play, the one we have had the opportunity to be alone with on stage while he talks to God, therefore making us part of his conscious as he navigates these moral choices, at the moment when he could, potentially be unlikeable to us, the writers allow him to sing such exquisitely beautiful lyrics. As he wistfully remembers the young girl who had stolen his heart as a child, now breaking his heart as a young woman, we the audience are allowed to weep with Tevye rather than judge him for the choice he has made.
“Ya ha deedle deedle, bubba bubba deedle deedle dum”
You gotta love any show tune with Ya ha deedle deedle, bubba bubba deedle deedle dum as a genuine lyric. If I Were a Rich Man is a gift to any actor privileged to play the role of Tevye. In just over three minutes they get to convey, on behalf of Tevye, their humor, their desire, their love for their wife, their reverence, their passion, their pride and their humility all finished with the last tableau of their raised arms to the sky on the final beat of the song (Yul Brynner’s old secret for demanding a rousing cheer from the audience at the end of his solos). And the melody of Rich Man is so infectious that it stays with you forever after one listen.
Often times, the strength of a production of Fiddler is reliant on the strength of the actor playing the role. Therefore, debates have ensued for decades over who is the quintessential Tevye. Zero Mostel originated the role on Broadway and Chaim Topol was awarded the part in the Oscar-winning film. Two different types of actors you will never find. I feel personally cheated that I was never able to see Mostel play this part, but listening to the original Broadway cast recording almost makes me feel like I saw him. His performance leaps out of the speakers and I swear I can see him on stage. I was fortunate enough to see the great Paul Lipson, who actually holds the record for playing the role more than any other actor, more than 2,000 times. He understudied Herschel Bernardi in a production back in 1981 and it was my first exposure to the greatness of the role. I suppose you never forget your first Tevye.
The movie version of Fiddler is an astounding achievement as a film. It beautifully portrayed the realism of life in Anatevka and in being as realistic as it was, it ultimately failed as an adaptation of the stage musical. You see, by being as realistic as it was, it lost all of the charm that the stage production had. The stage production is presented as a whimsical fable that deals with very serious issues. The film comes across as a very serious important film which deals with serious and important issues…. Where’s the fun? The magic of Fiddler is that it addresses these serious issues without ever being too serious, or,worse, taking itself too seriously. It is written in a rhythm and pace that never forgets there is a live audience in the room with the actors. It never gets bogged down in melodrama. The seriousness of the situations sit in beautiful contrast to the joy and lighthearted love that the characters have for each other. In the film, the joy is gone and with it the magic that makes Fiddler so great.
Topol’s performance in the film is solid, it’s not his fault that the realism of the film undercuts his character’s charm and our sympathies for him. But, the good news is that Topol is now touring the USA with what they are calling his “Farewell Tour” of Fiddler, and if it is coming to your town, see it and take a child. Here is a link to the itinerary for the Fiddler tour.
So as the finale for this week’s Sunday Matinee, I offer a rare video of the great Zero Mostel. Out of costume, but bringing that joy and exuberance to the song that will always be his. Enjoy the magic:
YouTube
Stage Right is on Facebook
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