Dec 07

Sanctioned Hate is Still Hate : Fiddler On the Roof

Photo by Andrew Brilliant / Brilliant Pictures; The cast of Fiddler on the Roof.

Photo by Andrew Brilliant / Brilliant Pictures; The cast of Fiddler on the Roof.

Presented by New Rep Theatre
Based on the stories of Sholem Aleichem
By special permission of Arnold Perl
Book by Joseph Stein
Music by Jerry Bock
Lyrics by Sheldon Harnick
Directed by Austin Pendleton
Music direction by Wade Russo
Choreographed by Kelli Edwards

Dec. 2, 2016 – Jan. 1, 2016
Charles Mosesian Theater
The Dorothy and Charles Mosesian Center for the Arts
Watertown, MA
New Rep on Facebook

Trigger warning: Patriarchy, arranged marriage, lack of personhood

Review by Kitty Drexel

(Watertown, MA

New Rep’s Fiddler On the Roof is an extraordinary production… With one not inconsiderable snag. Largely, the performances in this show are spectacular. This production doesn’t make up for New Rep’s lackluster musicals but it certainly resets the standard for its productions. The cast and crew have delivered to us something very special with this Fiddler. Continue reading

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Jul 15

Is God Laughing With You or At You?: FIDDLER ON THE ROOF

Photo Credit: Reagle Music Theatre; Scott Wahle sings “If I Were a Rich Man.”

presented by Reagle Music Theatre
book by Joseph Stein and a score by Jerry Bock and Sheldon Harnick
based on the stories by Sholem Aleichem
directed by Kirby Ward
choreography by Jerome Robbins, recreated by Susan M. Chebookjian
music directed by Dan Rodriguez
conducted by Jeffrey Leonard

Waltham, MA
July 11th – July 21st, 2013
Reagle Music Theatre Facebook Page

Review by Craig Idlebrook

(Waltham) The tradition of Jewish wit has been honed through years of hardship, and the best productions of Fiddler on the Roof capture that teetering line between joy and pain.  It’s not an easy task.  To pull it off, you need an expert master of ceremonies to play Tevye, the central protagonist; through his lens, we are pulled into the world of a hardscrabble Jewish village eking out an existence on the margins of pre-revolutionary Russia.  The task is made more difficult by the fact that the 1971 film version of the play features an iconic portrayal of Tevye by Israeli actor Chaim Topol.  Topol kills it with an original scene-chewing performance, creating a man at once both larger than life and lost in the currents of change.  To go down Topol’s beaten path for Tevye is folly, even though that is what most audience-members expect, and many productions succumb to this error. Continue reading

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