Fiddler on the Roof Previews — Page 18

That's much better than anything in the rear mezz. Actually I like that seat.

Watching close makes you feel like you're part of the show, the chance even to see them is very special.

For those who have rushed the show - how early should I be in line and where are the seats located?

I saw it last night...mid way up the Balcony for the first part but many empty seats upstairs so I moved up about 10 rows midway. Both seats were fine but I did appreciate being a little closer second half.

Hmm..I seem to be in the minority here but I really didn't love it. I expected to love it a lot more than I did...and the show is especially important in this time in dealing with immigration and people who can't survive where they are from.

But I just never got into the show...it seemed like the second show in a row in the Broadway Theater (after Dr. Z) where the show takes place in Russia and I am thinking...well ok,, but I don't really see it. Some actors had no accents, some such as Jessica had a much more pronounced accent, the dancing (except for the famous bottle dance) didn't seem particularly Russian...and certainly seemed more modern than it should have been - from the dance moves to the poses and everything in between.

I really liked some of the actors - I thought Jessica as Golde was much better than I expected after reading some of the posts here- but suprisingly I also wasn't a huge fan of Danny (who I have loved in everything I have ever seen him in before). He has a very different slant to the role - which is credible but didn't really speak to me personally. He is quieter in style than I would prefer..and I just keep seeing Brooklyn not Russia.

Hard to tell the sisters apart from way up in the balcony. Loved Adam Kantor though I thought his chemistry with Alexandra Silber (and her with him) was non-existant. Samantha and Ben did much better as a team....and Samantha's solo at the train station was breathtaking. Also Melanie and Nick did fine as Chava and Fyedka but I am curious..since they are trimming the show, has the length of the Chava ballet gotten shorter? Her dance is over before it starts...I was thinking, that's it? And she dances with her sisters I think but you never really see them, they could be anyone dancing behind the screen. And Melanie IS a dancer - where's the dance? I really wanted to see more.

The set was ok = though I must say every time that house floated up in the air, I kept thinking wizard of oz during the hurricane. I didn't notice that many stage hands moving the furniture but there were a few at times. Would it have killed anyone to give them a costume/jacket something so I don't see a t-shirt.

Show ended promptly at 11 after starting on time (well the traditional 8:10). Orchestra sounded lovely - though I felt many of the songs were performed at a slower tempo than I am used to. I can't say I am sad I went but I don't think it's going to be a show I will see again.

the dancing (except for the famous bottle dance) didn't seem particularly Russian

Are you kidding?

http://www.wsj.com/articles/broadways-new-fiddler-on-the-roof-with-a-modern-dance-twist-1447104095

Thanks for linking that article PalJoey.

Shechter is one sexy and talented man!

The one thing Jerome Robbins NEVER wanted was for the dancing in Fiddler to look like folk dancing--either Russian or Jewish.

You're 100% right that everyone's entitled to an opinion. However, in this clip of "L'Chaim" from the Macy's parade, I find the Jewish movement to be very Hasidic in its energy and intensity and the Russian movement to be, well, absolutely thrilling:

Loved it.

I'd like to return after it opens, and to be seated a little farther back. Last night we were in the second row, and it was a bit too close. While we loved being up close and personal for the expressions, we missed much of the overall staging, which is always one of the reasons to love a Bartlett Sher production.

I thought the sets worked beautifully. I loved the minimalist approach as a way to fill such a large stage. The lighting was gorgeous. The framing device was smart and very moving. The dream sequence was wonderful and delightful. I didn't even notice stagehands, because I was more focused on the big picture of what the set and stage movement was depicting.

I thought Jessica captured a realistic Golde, who has to live and work in the real world and doesn't have time for the dreams that Tevye sings about. Her emotions were moving and measured and I loved watching her on stage. Danny was just wonderful, as I expected. I found a new depth of character in his performance as Tevye.

I think the timing in some scenes needs a little work. But, overall I was very moved by it. I felt very connected to it, and will look forward to seeing it again.

Updated On: 12/3/15 at 01:39 PM

I saw this Tuesday night and was underwhelmed. Danny has his charm but I found his Tevye to be dull. The rest of the cast is serviceable. I particularly disliked the Golde. The set is so ugly and simple that it didn't register with me one way or the other. I found the framing device odd. Shall we create a new Tony Award category for the stage hands? I have always found Fiddler to be one of those surefire shows. Not this production. It all felt so diluted. The theater is gorgeous. The Wiz was the first show I ever saw at The Broadway Theater.

Updated On: 12/3/15 at 03:24 PM

I saw the first preview of "South Pacific," then saw it a number of times after it opened (including the very final performance). There were a lot of changes after that first preview, and even though I loved that first preview, it clearly improved from there. BTW, the only actor I thought was totally in the pocket from that first preview on was Danny Burstein as Billis. It took some of the others a while to find their footing.

The King & I is substantially better now than when it opened, with Hoon Lee as the king. I saw it again a few weeks ago and was transported (though I still don't get the hubbub over the big boat in the beginning -- maybe it's more impressive depending on where you sit?).

I saw Fiddler on Tuesday night, and because there are more than two dozen performances between now and opening, I feel certain, based on the experience of seeing mulitple performances of SP and K&I, that this show will be substantially different when it officially opens.

I'm not a theater person -- I didn't see my first Broadway show til I was 24 years old -- that is one of the reasons why when I see something great, even if imperfect, I try to go back again (and sometimes again and again) to study the show and see why it works better down the line.

I saw SP so many times that I almost went broke (wait, I did go broke -- I'm still in debt) -- but it was thrilling to watch all three Emile DeBecques (Paolo Szot, William Michaels, and David Pittsinger -- all very different, all brilliant) and watch how Kelli (and then Laura Osnes) adjusted their performances based on who was singing the lead that performance. I started to think of the three Emiles as the three Billys in Billy Elliot -- didn't matter who had the part that night; the audience was in for a treat no matter what.

It's been fascinating reading all these comments -- pro and con -- if nothing else, for sure I am going back again after Fiddler opens -- I have to do it for my own education, no matter what it does to my bank account. But I'm curious about rush tickets (don't know how that works -- I'll have to study up on that).

Maybe my theater addiction won't automatically lead to bankruptcy?

Hi Christine Lavin, big fan here too! You're a legend!

Concur with what you are saying about this show. It's in previews folks, give it a chance. I've decided to take my daughter to it the day after Christmas. She has seen the movie, never the musical on stage, so it should be a real treat. We have faith.

Not that familiar with the Broadway Theater. Is rear orchestra ok, should we stay in the middle? Is there an overhang?

Thanks for any info!

Updated On: 12/3/15 at 07:38 PM

The only thing worse than a bad Broadway show is a mediocre one. That's the best way to describe Bartlett Sher's 'Fiddler on the Roof.' Mediocre and lifeless.

It showed promise in the opening number; however, the buzz fades quickly by the time 'Matchmaker' rolls around. The daughters aren't the strongest of singers, for starters, and the entire number plays flat. In fact, many of the castmembers seemed to struggle with their numbers, which was kind of a letdown. Even Danny Burstein held back during 'If I Were a Rich Man.' At times I wanted to shout, "SING OUT, LOUISE!" I felt he didn't connect with the role at all, which was perhaps the biggest shock and letdown of the production.

As for the show itself, the entire first act is far too long; it definitely needs to be trimmed. But then, how do you trim hair when it's got bubble gum stuck in it? The show admittedly shows a bit of life in the beginning of act two, but oy, it goes away quickly.

It's been a long while since I've left a show kicking myself for seeing it. Which shocked me, because I loved Sher's revivals of 'South Pacific' and 'The King and I,' two of the best Broadway productions I've ever seen. Those revivals felt fresh and worthy; this one felt completely unnecessary.

Curious to see how the reviews play out. My audience was mixed-positive (there were walkouts) but I'd be pretty dumbfounded if the production got raves.

Updated On: 12/3/15 at 11:40 PM