Fiddler on the Roof Previews — Page 12

Yes, ljay. It has been confirmed. Took long enough. Surprised more posters didn't catch on more quickly...

Missed you around these parts, BG. I have to commend you for keeping a low profile... until you went creating a thread where you admitted that you routinely break the law and engage in immoral, unethical activity. Did you really need to do that?!

I brought in my satchel no problem

Actors move some of the scenery here, which makes the stagehands moving virtually ONLY that fence even weirder. Are there union rules about putting actual stagehands in costume?

Are there union rules about putting actual stagehands in costume?

Of course. There is an extra fee.

I want to ask to the one's who have said that Michael Yeargan's set design is too sparse. Was Fiddler on the Roof meant to have good looking/detailed sets despite the musical being set in a small Russian village in 1905?

Updated On: 11/24/15 at 09:08 PM

Not yet.

Primed to love this show when we see it this Saturday night. I've loved the design/staging approaches that Sher/ Yeargan have taken with some of their shows (Piazza... South Pacific); I've been disappointed in the minimalist approach they've taken with others: (King & I, Bridges...). I'll go with an open mind.

But Musical Master asks "Was Fiddler on the Roof meant to have good looking/detailed sets despite the musical being set in a small Russian village in 1905?" The original Boris Aronson designs are well documented (there are amazing sketches and pictures in Frank Rich's Aronson book), and run the gamut from lush and stage-filling (the interior of Tevye's house, the Tavern for L'Chayim and the entire Wedding sequence) to the mundane and frankly threadbare (the traveler curtains in one for Tevye's back yard or the street scene for "I Just Heard".

I first saw the B'way show in 1967 when I was 11, and then a revival with Zero in the late 70's I believe. Those relatively empty stage pictures were filled to the brim with movement and emotion and just enough detail to let your imagination fill in the rest. And most glorious of all was that huge turntable (with a smaller turntable set within it) around which the entire staging was conceived. You kept returning to the circle in scene after scene. Tevye's house spun on it, the Tavern's back wall spun around from Interior to Exterior, and best of all, the villagers said their goodbyes by slowly stepping OFF the turntable one by one as Anatevka ceased to be in the show's final beats. Can you do the show without that turntable as I understand Sher and Yeargan have decided to do? I'll find out this Saturday night...

You are correct Someone in a Tree2, Boris Aronson's designs on Fiddler on the Roof and others are nothing short of the great imaginative use of simple and drop dead lavish is an amazing talent that cannot be compared. The world truly lost something special when Aronson passed away. I for one really loved what Michael Yeargan did with The King and I, and if his work in Fiddler disappoints, then oh well; at least he'll still be a wonderful set designer to me no matter what.

Finally, the maven arrives! Heard your opinion of FOTR is the most important.

please take notice of Motel the tailor and Jessica Hecht.

seening it soon.last time with Alfred Molina.

Blizzard caused us to miss 2nd act. Had to leave. Loved Zero Mostel. Enjoy

How long will this run