Fiddler on the Roof Previews — Page 25

As I said... Glad you enjoyed the pictures.

i was far than impressed by this production and a good part of my lack of enjoyment has to do with the thread bare production design (with the exception of a stunning coup de theatre that I won't spoil here)

the performances were outstanding across the board and the choreography was inspired

and the first act was looooong

This is an EXTRAORDINARY production. I was at the performance last night after having seen the second preview. Several changes - you cannot spot standhands any longer. Fruma Sarah's costume is brand new and much more spectacular. They added some subtle changes to the "framing device" that greatly clarifies the concept.

The design is certainly not spare - there are many visual surprises throughout the production. Don't spoil yourself. The production photos show a small taste, keeping many of the larger set pieces a surprise.

This is the most beautifully acted production of the show I've seen. Danny owns the evening and gives the performance of his career. It is a masterful, smart, moving portrayal of Tevye that continuously builds throughout the evening. The payoff is huge and you could hear a pin drop in the last 30 minutes.

Updated On: 12/17/15 at 08:29 AM

I don't want to spoil it, but the floating houses you've seen are only in a few scenes. There are different sizes of "floating houses" that come up and down throughout the show - NOT just the ones in the photos/instagram, which are only a small part of this theme. They change throughout the course of the show.

Musical Master said: "Thanks for that, I think this production will be something special when I'll see it flaws and all."

Or you may not find it flawed at all?!

I hope to see it next week.

I saw this tonight and thought it was a pretty stunning, beautiful, and heartfelt production of a nigh-perfect show.

The physical depictions of Anatevka- stylized, always somewhat out of reach- contrasted wonderfully with the very real renderings of character and, importantly, tradition and ritual. That's what is remembered and handed off to future generations, as poignantly depicted in the final moments.

Burstein is an actor of immense warmth and glow, and I can't help but be drawn. Love permeates his actions- love for family, for God, for tradition- and he is constantly trying to figure out which love is most important. But love is what drives his performance, and that makes it so easy to be engaged in his Tevye.

Hecht's Golde (odd accent aside) is cold and restrained for much of the show, until the second act when you realize the depth of her devotion to her family, bringing shades to the character beyond sheer matriarchy.

The supporting cast is wonderful, and the dancing is impeccable.

I cannot recommend this highly enough.

DramaTeach said: "Her Golde is trying to be the strength for her family and when she falls apart at the end, it was more touching than ever."

Agreed. Made for a beautiful moment.

DramaTeach said: "Matchmaker" was a downer."

One of my favorite Broadway songs and it didn't have the power it normally does.

DramaTeach said: "The absolute biggest disappointment for me was Alex Kori's Yente. What a gift that part can be. Her delivery fell flat, her 2015 accent felt out-of-place, and I cared not one iota for her."

Glad I'm not the only one who felt this way. How can one mess up a part like this? It is so well written, just waiting for you to bring it to life.

DramaTeach said: "The dancing was really the most beautiful part of this production."

This was the thing my whole party commented on as they left the theater. I don't know who the choreographer was, but wow.

An additional note, Bartlett Sher really outdid himself. There were so many little things that made such a difference. Like the hug at the end of Miracles.

Updated On: 12/18/15 at 09:09 AM

I agreed totally about the three sisters and yes Matchmaker (the song, not the character to clarify) was also a weak link for me. That said, I think part of the problem for me was the age of the "girls".

I know you suspend belief and ages are usually all over the place when you create a cast - but in this case, the parents sing an entire song about being married 25 years and Alexandra Sliber for one has to be in her early 30's and looks it. (I don't mean that in a negative way - she looks fabulous but looks like a grownup and is too old for this part). Girls married very young in these times, often in their teens... and I am sure they could find talented people in the early - mid 20's, it's not like I am asking for 16 year olds. They just don't look vulnerable enough when they are older and look a little ridiculous asking the parents for permission.

To me, not to digress, it was sort of like watching Lauren Ward in her early 40's playing Ms. Honey in Matilda - compared to say Alison Luff ( in her 20's) who played her later on. Lauren was fine and talented - but by the age of 40, it's like you had a bad childhood, get over it. It worked much better with a 20+ year old who was still finding herself along with Matilda herself and made the journey more meaningful. I think by having older daughters here - you lost a little of the "searching of youth to find your life" element that I personally missed.

Updated On: 12/18/15 at 09:15 AM

Just to clarify (and I did it in my earlier post as well), I felt that Matchmaker the song was a weak link) not Yente, the character of the Matchmaker.

I admit I had never seen a production of Fiddler before this one but I knew the story/score very well, and was surprised that the role of Yente wasn't bigger.

For those still interested in rush, I bought a ticket at 7p tonight. Row M orchestra.?

Those hightlights achieved for me exactly what they set out to do--where do I buy a ticket?