Fiddler on the Roof Previews — Page 10

It's true that Mostel was pissed about Robbins naming names, but he recognized he was the right man for the production. Accordig to Harnick.

Who was his favorite Monkee?

I saw this today with a large group from the next-to-last row of the rear balcony (actually a pretty decent seat considering). I won't try to review this before a group that has mostly seen a hundred more shows than me and has actually been part of New York theater in some capacity. Just a few lame observations.

Everyone in my group that I had talked to before the show really liked it and most said that they would go back after it had opened. The first act was long at almost an hour and forty five minutes and contained all of the familiar songs. The second act was about an hour and, as you know, intensely dramatic. I was glad to see that the show did not "sell out" by ending on a big hopeful and inspirational note but surprised that a show ending so morosely had a 3000+ run beginning in 1964. Were theatergoers more literate back then?

Danny Burstein played his role with much confidence. A couple of times I thought that I heard Luther Billis. To take on your first major starring role in a production that will invite comparisons to Zero Mostel, Herschel Bernardi and Theodore Bikel takes some courage.

I understand from seeing two early previews of Twentieth Century and then seeing it a month after its opening that you have to be careful when evaluating based on an early preview. That said, although the audience was pulling for it, there were no real moments of great excitement in the audience. Those looking for the magic of the other Sher revivals would probably be disappointed at this very early point in its run.

I thought the choreography was gorgeous today.  The authentic Jewish feel of it, especially at the wedding, was thrilling and stunning and a joy to watch.  There were a number of chorus people that kept drawing my eye because they were so charismatic. 

A very powerful production, the highlights of which are Danny Burstein's soulful Tevye, the absolutely flawless script and score and Hofesh Schecter's elaboration on the spirit of Jerome Robbins's choreography. The idea always was that it would NOT look like Broadway razzmatazz and it would also NOT look like folk dancing. Schecter creates gestures and stomps that borrow from the joyousness of Hasidic dance and create something that helps Bartlett Sher move the production along its 2 hours and 45 minutes.

Sher has some transitions to work out and some of the comedy will be sharpened as previews continue. Burstein will give Lin-Manuel a run for the Tony, and Jessica Hecht as Golde has one moment that will make you weep.

I have to comment on two directorial touches in the opening that have been discussed here: Burstein putting on his boots and hat and revealing the "tzitzit" undergarment during the opening monologue and the fiddler "flying" at one point. Both are brilliant. I gasped out loud when the fiddler went up, and I wish that none of us had spoiled that for everyone else. As for Burstein coming out as Burstein, I loved it for this reason: With all the baggage there is to this role, from Zero Mostel to Topol to Harvey Fierstein (to everyone's high-school,Tevye), he comes out as one of us and we watch him assume the role of Tevye. If he just came out in the typical costume, half the people in the audience would be immediately flashing on some other Tevye and comparing.

Both these directorial touches are magnificent, as I'm sure the entire production will be, by opening night.

That's an interesting take on the framing device, or an advantage of it.

Spoilers-ish.

What I found so moving about this device was the idea of a Tevye-aged man today connecting with his "tradition." My understanding of it was that this man, a descendent of the family, has arrived in Anatevka (the train station set) because he is retracing his roots. I think it lends another layer of poignancy to Tevye's struggle, as to how much can he bend before he destroys his identity. I think having the role played in "dress-up" by this visitor (which is not much of a production gimmick, because it is over with so quickly) shows that the world will keep spinning forward, but Tevye can rest easy over tradition being lost or forgotten. I found it so moving when Danny emerged in modern dress again to pick up the cart in the final image. 

Updated On: 11/23/15 at 09:40 AM

Can someone possibly PM me regarding Hecht's subtle moment that'll make an audience weep? I've heard it mentioned a few times now but unsure at what it is. I love moments of subtle acting!

PalJoey said: " 

I have to comment on two directorial touches in the opening that have been discussed here: Burstein putting on his boots and hat and revealing the "tzitzit" undergarment during the opening monologue and the fiddler "flying" at one point. Both are brilliant. 

I didn't really notice any particular audience reaction to these. I didn't think that they understood the meaning of the costume change. I thought that audiences are used to special effects like the flying fiddler. But then I was sitting far far far back.

Since you say that the entire production will be brilliant by opening night, it seems like you thought parts of the show were non-brilliant, but you are not sharing, which is fine.

My understanding of it was that this man, a descendent of the family, has arrived in Anatevka (the train station set) because he is retracing his roots.

I thought that too. I have often thought of visiting Russia, and taking a tri (a pilgrimage?) to the town of Bobruysk in Belorussia, where my grandparents lived. It is now an industrial suburb of Minsk, and I'm sure there is little if anything left of the shtetl that was their Anatevka. But I would be that man at that train station.

The power of this production is that Bartlett Sher is able to take the material to that deep a level. He is a genius that way.

I didn't mean to imply that there were parts I wasn't sharing. I only went to this early preview because I was suddenly moved to see the show before my family reunion at Thanksgiving this week. But in general, I am on record as disapproving of early-preview critiques. I have said in many threads that productions become their best selves over the course of a few weeks of performances in front of audiences. The best directors do their best work during previews, and Bartlett Sher is among the very best we have. I am sure I will go back to see this many times during its (sure-to-be) long run.

The Jessica Hecht moment is along the lines of Helene Weigl's legendary "silent scream" in Brecht's original production of Mother Courage. I could describe what Hecht does and you would still be moved to tears, but I won't do it on principle.

Updated On: 11/23/15 at 12:53 PM

You ask a lot of questions. 

I'm so excited to see this on Wednesday as it will be my first exposure to FIDDLER ON THE ROOF on stage. (Wasn't a fan of the film, but I do enjoy the score).

How is the stage door (considering the whole show ends very late)?

Updated On: 11/23/15 at 02:01 PM