Fiddler on the Roof

 

 

Partial Casebook

By Lexi Mitchell

 

 

 

 

 

Synopsis

            In an early 1900s Russian village, a poor milkman must deal with the complex combination of his family and religion. The changing world around him causes turmoil as he must deal with his own beliefs being challenged by his daughters. To add to it, his physical well-being is tested by legal oppression put on by the Russian government.

 

Scene Breakdown

ACT ONE

 PROLOGUE

• Here, we are introduced to the community of anatevka- it’s people and culture. Tevye and the town sings “Tradition” We learn about the setting, the daily tasks, and the expectations there are for different people.

 

SCENE 1. KITCHEN IN TEVYE'S HOUSE SCENE

• This first scene introduces us to Yente, the matchmaker, as well as the culture of marriage for Russian Jews. The girls Chava, Hodel, and Tzeitel all fantasize about their dream husband- young, rich, and handsome. They dream about it in the song “Matchmaker”. They know that coming from a poor family, however, makes it unlikely that they will find such a match.

 

 2. EXTERIOR OF TEVYE'S HOUSE SCENE

• This next scene opens with Tevye imagining what would happen if he were a rich man in his song “If I Were a Rich Man”. He then sells his dairy products in town, and converses with the townspeople. It is also where he meets a student named Perchik whom he invites to dinner.

 

3. INTERIOR OF TEVYE'S HOUSE SCENE

• After bringing Perchik to the house, Tevye and his family prepare for dinner. Golde tells Tevye to go see Lazar Wolf. Motel and Tzeitel plan to try and marry by having Motel ask Tevye. However, he chickens out and it doesn’t happen. The scene ends with the family singing/praying “Sabbath Prayer” to begin their Sabbath day.

 

4. THE INN SCENE

• Here, Tevye has gone to see Lazar. They have a brief misunderstanding in which Tevye thinks they are talking about his cow and Lazar thinks they are talking about Tevye’s daughter. When they get down to it, Tevye decides to give Tzeitel away to Lazar. The two men go off to the inn to celebrate with the song “To Life”. The song transforms into an elaborate dance scene between the Jews and Gentiles as well.

 

5. STREET OUTSIDE THE INN SCENE

• This brief scene ends the celebration between Tevye and Lazar. After they part, a constable stops Tevye to tell him there will be an “unofficial demonstration” presumably meaning there needs to be sign of power over the Jews.

 

 6. ON A BENCH OUTSIDE TEVYE'S HOUSE SCENE

•  In this scene, Perchik teaches the youngest daughters a story from the bible. Hodel does not approve, and she expresses this. Alone, the two talk about progressive ideas, and even dance a little. Then, Tzeitel is brought the news of her marriage to Lazar. She breaks down to her papa, who gives in and says that he will not force her. Motel enters, and stutters out that he would like to marry her. Tevye hesitantly gives them his blessing after deliberating in his song “Tevye’s Monologue” he is angry with them but sees the love. “Miracle of Miracles” follows, in which Motel and Tzeitel express their love and joy for their accepted marriage.

 

7. TEVYE'S BEDROOM SCENE

• Trying to figure out how to tell his wife, Tevye claims to have a nightmare where Golde’s dead relatives visit. They claim they are happy that Motel and Tzeitel are getting married because they are meant for each other. Then Lazar Wolf’s deceased wife appears and terrorizes Tevye and Golde, and says she will choke Tzeitel if she marries Lazar. These events all unravel in the song “The Dream”.

 

8. VILLAGE STREET AND MOTEL'S TAILOR SHOP SCENE

• The news now breaks around the town that Tzeitel is marrying Motel instead of Lazar. Chava watches Motel’s shop for a while and some Russians enter to bully her. One of them named Fyedka stops them. The two are alone and Fyedka gives her a book just before Motel returns.

 

9. SECTION OF TEVYE'S YARD

• Now is the wedding of Motel and Tzeitel. Golde and Tevye reflect on the changes that have taken place over years of aging in the song “Sunrise, Sunset”. The community proceeds to celebrate the marriage. Lazar offers chickens to the coupe, which starts a fight. Perchik and Hodel dance together- a huge sin in the eyes of Jewish culture. This sparks the whole community to dance together. Russian’s then arrive and destroy everything in sight.

 

ACT TWO

 PROLOGUE

• Tevye catches us up briefly on the time that has passed as he talks to God.

 

 SCENE 1. EXTERIOR OF TEVYE'S HOUSE SCENE

• The scene starts with Hodel and Perchik talking, Perchik expresses his love in the song “Now I Have Everything”. They quickly agree to get married even though Perchik must leave to Kiev the next day. Tevye meets with them, and is given the news. After some deliberation in the form of the song “Tevye’s Rebuttal”, he gives them his blessing and then tells his wife. They sing a song about loving each other, “Do you love me?” even after many years.

 

2. VILLAGE STREET SCENE

• In this scene, the ladies of the town gossip a bit as they do their daily duties. This forms into the song “The Rumor”.  Later, their gossip turns into a song about everyone getting arrested for dancing.  Tzeitel meets Yente, who says a letter has come for Hodel. She gives it to Tzeitel already opened.

 

3. EXTERIOR OF RAILROAD STATION SCENE

• Receiving news of Perchik being arrested, Hodel waits for a train to Siberia with Tevye. He doesn’t understand why she must leave, but she explains that her love is stronger than her desire to stay at home through the song “Far From the Home I Love”.

 

4. VILLAGE STREET SCENE

• This brief scene is where the village is a buzz with the announcement that there is “a new arrival” at Motel’s house.

 

 5. MOTEL'S TAILOR SHOP SCENE

• Now, we find out that the new arrival is a sewing machine. Many people have arrived to see it and the Rabbi gives it his blessing. Chava approaches her father about marrying Fyedka. They have a conflict about wanting to marry, and Tevye forbids it.

 

6. SOMEWHERE ON THE OUTSKIRTS OF THE VILLAGE SCENE

• Golde goes to the priest when Chava goes missing and finds out that she and Fyedka were married and ran off. She shares this news with Tevye who then reflects on his daughter’s character and how he should handle the situation in the song “Chava Sequence”.

 

7. THE BARN SCENE

• The scene begins with Yente making matches for the two youngest daughters. It is interrupted by the town getting together over some news. The Constable enters and confirms that the town will have to sell their homes and goods, so they begin to pack. They sing the song “Anatevka” about their beloved home and hurt of leaving it.

 

8. OUTSIDE TEVYE'S HOUSE

• The townspeople clean up, and Tevye’s family decides on heading to America. Motel and Tzeitel plan on staying in Warsaw for a while. Chava shows up with Fyedka to say goodbye.

 

EPILOGUE

• The show ends with all of the townspeople trudging along with their stuff. Finally, the fiddler from on the roof appears to end it.

 

 

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Playwright Biography

            Joseph Stein was born on May 30, 1912 to Jewish Polish immigrants. His higher education had very little to do with writing or the arts. In 1934 he received his bachelor’s from the City College of New York. Later, in1937 he received his master’s degree in social work from Columbia University. He started off working as a social worker for a few years when he met a comedian- Zero Mostel- who asked him to write some content for a show. Stein did so, for $15. Zero would later go on to originate the role of Tevye on Broadway. His Broadway debut was in 1948, with a revue called Lend an Ear, written with Will Glickman. He quickly went on to became a part of the writing staff for Sid Caeser’s Your show of shows.

         

          Enter Laughing opened just before Fiddler, it was about a Jewish boy. It was based on a book by Carl Reiner. Then, in 1964, Fiddler on the Roof opened on Broadway. The next year, in 1965, it was nominated for nine Tony Awards. It broke the record for the longest running musical on Broadway (the record has since been broken). Going until 1972, some have called it the last of a great era of musicals. While that was running, Stein also wrote a 1968 musical called Zorba based on “Zorba the Greek”. It was another one of his shows that gained major popularity and Stein said that it changed his life.

 

            Stein’s son said that his father was an “inveterate jokester” (even as he got older). Stein believed “Life is what you do until the day that you die, so you better make use of all of it, so you’re proud of what you’re doing.  It is clear that he lived by that philosophy just by the length of is work in the arts. Stein wrote and produced a multitude of projects on and off Broadway even into his 90s.

 

 

 

 

 

Production History

Original 1964-1972 Broadway Production

Awards:

Best Musical: Winner                      Book by Joseph Stein; Music by Jerry Bock; Lyrics by Sheldon Harnick; Produced by Harold Prince

 

Best Composer and Lyricist: Winner                         Music by Jerry Bock; Lyrics by Sheldon Harnick

Best Actor in a Musical: Winner                                 Zero Mostel

Best Featured Actress in a Musical: Winner             Maria Karnilova

Best Scenic Design: Nominee                                     Boris Aronson

Best Costume Design: Winner                                    Patricia Zipprodt

Best Choreography: Winner                                        Jerome Robbins

Best Direction of a Musical: Winner                          Jerome Robbins

Best Producer of a Musical: Winner                          Harold Prince

Best Author (Musical): Winner                                    Joseph Stein

 

 

 

 

 

 

 

 

One review calls the production full of “laughter and tenderness”. It is clear that the traditions and customs of the Russian Jewish are honestly represented in the play. Jerome Robbins has both sensitivity and fire in his direction/choreography. The story in particular seemed to capture audiences. This will resonate in other productions as well.

 

 

 

 

 

New York State Theatre 1981

The production brings back most of the original production team and cast. Jerome Robbins directs and does choreography, Boris Aronson for scenic design. Herschel Bernardi (replacement for Zero Mostel in the original production) comes back again as Tevye. The broadway original for Golde, Maria Karnilova, also comes back. It seems that there are many similarities between that and the original broadway production. For example, the choreography has the same distinct style Robbins is known for. The theatre is bigger than the other production so it lost some of its intimacy. Tevye’s character seems to have a hidden strength to get his family through the uprooting.

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1965  Alhambra theatre, Tel Aviv

            In 1965, shortly after the Broadway debut of Fiddler on the Roof, Giora Godik brought it out to Tel Aviv. Politicians that saw it’s opening loved it! Joseph Stein and Boris Aronson helped Godik put on the show. They say that there were almost no changes, so even the translation is almost an exact copy. Chagall seemed to have been echoed in this set (which has been said of many other productions’ sets, to no surprise). A well-known reviewer, Chaim Gamzu did not have such a sweet review of it. He claimed that the ending was weak, Judaism was lost in the “schmaltz”, and that the show was entirely too long. Dan Almagor, the translator, also offered a few reflections on his work. He was disappointed that the original script never mentions Jerusalem or Israel once, even though it is the Holy Land of the Jewish people.  He had the privilege of seeing the show before it hit Broadway. When talking to Joseph Stein, he convinced him to have Yente head to to the Holy Land of Jerusalem at the end, it was a change that made it into the Broadway script.

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Jewish Culture

The practices and beliefs surrounding Judaism come from a long history of biblical information. Early in the bible, God made a promise to Abraham that he would have many descendants and they would occupy a huge kingdom Jews believe themselves to be the descendants of Abraham’s son Isaac (Muslims believe themselves to be from Abraham’s other son Ishmael). Because of this, they tie their religion very closely to God’s promise of a kingdom, known as the holy land or promise land. This area is what we know as Israel. The covenant between God and Abraham also give Jews the understanding that they must follow God as the bible says.

From the bible then, come most of the traditions and beliefs that Jews practiced for centuries, even up into today. Though less prominent in Fiddler on the Roof, food is a well-known part of Jewish practice. Specifically, Jews must eat kosher- which means that they cannot eat certain foods, and what they do eat has to be prepared a certain way, according to the Bible.  Here is a list of animals that Jewish followers are told not to eat:

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• Large mammals (horse, camel etc.),

• Land mammals without cloven hooves (rabbit, lion etc.)

• Land mammals that do not chew their cud (pig)

•  Birds of prey (eagle, owl etc.),

• Marine animals without removable fins or scales (shark, dolphin etc.)

• Bottom feeders (oysters, mussels etc.)

• Flying insects that don’t hop (flies, bees, etc.)

• Animals that move on the ground (snake, lizard etc.)

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Furthermore, the preparation of meat is a highly regulated process. There must be as little blood as possible left in the meat, so it is best that the animal’s heart is beating when it is butchered. A special knife called a chalef is used for the process. It must be at least twice the length of the neck of the animal. The butcher (known as a shochet) cuts the jugular veins, carotid arteries, trachea, and esophagus all at the same time. While butchering, there are certain portions of arteries, fats, and nerves that are treated with special care. Within 72 hours, the meat must be soaked and salted. There are special instructions for the other organs such as liver, which can get very complicated. This is just an example of the laws that instruct food preparation for Jews. Many more laws exist, especially regulating farming.

 

Having such a deep connection between food, its preparation, and religion can explain why it seems like Lazar Wolf is so respected in Fiddler on the Roof. Following all of those laws and rules to prepare meat is important for the communities’ dedication to their God. He is probably rich as part of that, because his expertise is a necessity. It also shows why the community is probably so concerned with all the complexities of farming, cooking and more.

There is a strong connection between manual labor and food because the Bible claims that you will be well and you will have happiness in consuming the fruits of one’s labor. This extends the contentment with work, into the pleasure of following God’s strict expectations for food. Work in the Jewish culture was highly influenced by the word of God, which says that “Six days thou shalt do thy work,” which is interpreted to mean that “… just as Israel [i.e., the Jewish people] was given the positive commandment of Sabbath, so were they given the commandment of working.” The bible even indicates that labor in this world, equates with joy in the next.

 

Contrast is created here because many civilizations, including modern ones, look down on labor. It is a sign of rank and privilege to not participate in physical work. It also stems from the view that God is the ultimate caretaker of the earth, and he has gifted it to humans for temporary care. The idea of the Sabbath day of rest is an extremely important concept to Judaism and the modern world. It was the first inkling that humans are more than just work animals. While the Sabbath for Christians is on Sunday, Jews practice the Sabbath on Friday at sunset, until Saturday night. In Fiddler on the Roof we see Tevye and his family rush to get things done before Friday at sunset, when they are forbidden from working. All of the attitudes around work can also be seen reflected in the musical; particularly in the part of Tevye. We see him physically strain against his cart of milk. He works himself incredibly hard to do what little he can as a milkman, and though the circumstances are never ideal, he seems to always have a sort of pride about himself and his work.

 

One of the most prominent components of Jewish culture intertwined in Fiddler on the Roof are the traditions surrounding marriage. It is common for Jewish girls to get married young- 14 years of age sometimes. At the very least, they would likely be matched up by then. This is shown in the show when the two youngest daughters are connected with matches by Yente. By 18, however, it would be expected that they are married off.

 

There is a written marriage contract made that also says what dowry the woman’s parents’ owe to the man. After writing the contract, the two fathers shake hands. They also ask if the man and woman marrying are in agreement to the arrangement.  In this part, there are discrepancies between real Jewish culture, and that present in the story. There seems to be little to no care about the desires of the women involved in the marriage. Tzeitel is being married off to a man much older than her. And she doesn’t even like him! This theme echoes in the other children as well. One thing that is considered, is often money or familial relationships. A matchmaker was usually just a community member or family member. The match was often made to improve a family’s financial standing, or the relationship between two families. Keeping this in mind, it makes the show seem like a much more exaggerated example of this concept.

 

Before the ceremony, the bride and groom both fast for a day. The bride usually gets her hair cut. There is also sad music in the events leading up to the ceremony.  For the ceremony, the wedding takes place under a canopy called a khuppa. Three times the bride is led in a circle around the groom. The groom stands on the left side of the bride because psalm 45:19 says "Upon thy right hand did stand the queen in gold of Ophir." The Rabbi places a praying shawl over the heads of the couple, called a tallith. After he or the relatives give a blessing, the couple sips wine. Then, the groom puts a gold ring on the index finger of his bride. Then, the Rabbi reads the marriage contract, and says the “seven blessings”. Finally, the Groom breaks a glass with his foot, which switches the atmosphere from sad and gloomy, to joyous. It is thought that breaking the glass started as a way to scare away demons or as a reminder of the destruction of Jerusalem.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When the wedding ceremony finished, the newlyweds broke their fast with clear chicken broth. Celebrations continued the next night, with the two families coming together. The mothers dance together. Later in that celebration, a badkhn calls out the gifts in humorous verse. Much dance and song followed this. For seven days after the wedding, the couple sits under the canopy every night with guests that are entertained by the parents.

These customs are portrayed with varying consistency in Fiddler on the Roof. Some customs were left out, such as cutting the brides hair or putting the prayer shawl on the couple. However, it also seems that there are not useless traditions added in as well. As with all cultures and all times, it does seem as though there could always have been discrepancies between one community and another. Seeing that what the musical portrays is mostly true though, is extremely helpful in understanding the meaning and connection to the story and the people it represents.

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Russian History

            For a long time, after many kingdoms had switched power over the area of Russia, serfdom was the main form of government. In the 1800s, there were a multitude of conflicting periods between peace and war. Mid-century, it became one of the most feared powers because of its huge land mass. Though its power was admired, it was seen as the opposite to liberty because of its strict monarchical powers. When the Crimean war came around, Russia lost and was humiliated. The country’s lack of modernization was seen as a huge problem; the first solution of which was to abolish serfdom.

            In theory, this freed up the working class to own land and create wealth. In reality, the cost of land was so high that most could not afford it. Plots of land that they could afford were so small, it was less than they had as serfs. The now free peasants flocked to cities to work in the new industries. This left them no better off than they were as serfs. European models of government and law also started taking place at this time. Small revolutionary groups started at this time because of the unfairness that the citizens felt about what was essentially loss of land. By the 1870s, groups of citizens, mainly students, tried to rally up support by going door to door, but their passion was not taken up. Most of the revolutionaries were imprisoned or exiled. We see Perchik in a position like this. His activity was a part of a group of revolutionary intellectuals, which was shut down by the government. Heading to Siberia was likely his only option besides death.

            There were a handful of Jewish Socialist groups around Russia in the very early years of the 20th century. 1905 was a failed revolution on the part of those parties, and many more. The Zionist Socialist Worker’s Party was the most powerful of the groups formed. A statement issued by it said “in a deep sleep and do not know what is going on … everything is awakening in a new life and we are in a struggle for a better future, where there will be no oppressors, no oppressed.” In October of 1905, Tsar Nicholas II issued a statement giving rights to his subjects, which in turn lead to more killings of Jews. Odessa is one place in particular that felt a huge loss of life. Pogroms, the organized massacres of the Jews, lead to built up oppression that the Jews did not fight off. For years following, the government would habitually kill or wound groups of Jews and students.

             

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibliography

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Production History

 Here is the IBDB page for the original production. It has a lot of useful information about the cast, production team, and awards. https://www.ibdb.com/broadway-production/fiddler-on-the-roof-3213/#awards

 

(PDF) This link provides a review of that original broadway production. https://search-proquest-com.libweb.uwlax.edu/docview/115869316?rfr_id=info%3Axri%2Fsid%3Aprimo

 

 

https://timesmachine.nytimes.com/timesmachine/1965/06/09/101552824.html?action=click&contentCollection=Archives&module=ArticleEndCTA&region=ArchiveBody&pgtype=article&pageNumber=40

This article from the New York Times in 1965 talks about the Tel Aviv production of Fiddler on the Roof.

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http://www.israel.org/MFA/MFA-Archive/1998/Pages/Musical%20Plays%20on%20the%20Hebrew%20Stage.aspx

Here, Dan Almagor reflects a bit on the musical, and his work as the Hebrew translator. The page also has interesting perspectives on other musicals put on in Israel.

 

Writers and artists

https://www.youtube.com/watch?v=6wjyflQR6nk

This brief interview with Sheldon Harnick, lyricist for the musical, talks about his process and relationship with the stories. His inspiration from the stories of Sholem Aleichem as well as his own life is made clear.

 

https://www.thejc.com/culture/theatre/fiddler-on-the-roof-shtetl-1.442656

This article (mentioned later as well) has a really good amount of information about Sholem Aleichem. The back half of the article really details his life, and how his real experiences with people like Tevye the milkman were inspiration for his stories.

 

https://www.nytimes.com/2010/10/26/theater/26stein.html

This article, written after Stein’s death, details his career on and off Broadway. His life clearly was not headed in the direction of working in the arts, but a swift change was enough to last him a lifetime. Stein wrote for the theatre for decades, before and after his ever famous Fiddler on the Roof.

 

https://www.theguardian.com/stage/2010/oct/26/joseph-stein-obituary

This second article also gives a look inside Stein’s extensive career works and gives a little criticism of Fiddler.

 

Jewish culture

https://www.youtube.com/watch?v=PWsKZ2Xto4Y

Here is a quick video about Jewish people and the history of it as a religion.

 

(PDF) www.jstor.org/stable/3141268

This article gives a bunch of great information pertinent to marriage in Jewish culture. Traditions such as the bride circling around the groom and performing the ceremony under a canopy are mentioned here which we of course also see in the musical.

 

http://www.yivoencyclopedia.org/article.aspx/Weddings

This awesome website about Eastern European Jewish culture and history has a ton of topics but this particular one focuses on weddings. It dives into more components of a Jewish wedding- some that we see and don’t see in the musical.

 

(PDF)http://www.jewishlaborcommittee.org/LaborRightsInTheJewishTradition.pdf

Here is a PDF that really digs into the connection between physical work, rest, and Judaism. The bible outlines laws for just about everything in Jewish life and work is no exception. It might be a stereotype that Jews work to hard and this article als understands why that might be said.

 

Historical facts

https://www.youtube.com/watch?v=55GvxYq9yXw

This video is about the history leading up to and surrounding the 1905 Russian Revolution.

 

http://www.yivoencyclopedia.org/article.aspx/Society_for_the_Promotion_of_Culture_among_the_Jews_of_Russia

This article in the same website mentioned earlier talks about the tension between Jews and Russian government. It centers around the revolution of 1905.

 

https://www.britannica.com/place/Russia/From-Alexander-II-to-Nicholas-II

This Britannica entry has an extremely comprehensive breakdown of Russia’s history. The musical takes place in 1905 so we are mainly concerned with the events that take place from the 1800s, on.

 

 

Social impact through today

https://www.youtube.com/watch?v=VggvGWEBfhs&t=647s

Theatre Critic and Dramaturg Alisa Solomon gives an interview on her book and “The Fiddler on the Roof”. It gives interesting information about the connection to now. Her analysis also connects to Jewish culture, and Joseph Stein’s life.

 

https://www.thejc.com/culture/theatre/fiddler-on-the-roof-shtetl-1.442656

This article in the Jewish Chronicle talks about what it is like to be a Jewish person and see Fiddler on the Roof put on stage.