While these are dark days for Anglo-Jewry, there is some small comfort in the fact that Britons, like many others, have not lost their appreciation for the classic American musical adaptation of Sholem Aleichem’s Tevye stories. Fiddler on the Roof returned to the London stage in August, writes John Nathan:
Unlike the Wickeds and Les Miserables of this world whose original productions became semi-permanent features on the musical theatre landscape, the original Fiddler on the Roof has been regularly reborn since it premiered in 1964. . . . For there is nothing semi-permanent about audience appetite for Tevye, the milkman whose five daughters must be married but without diluting the tradition in which they were raised.
Fiddler on the Roof is the show that made Jewish experience universal, not because of money but because of Tevye’s battle to hold onto his traditions. Yet after the Broadway smash the creators were advised (I wish I knew by whom) that the show was “too Jewish” for London.
The proof of how wrong they went down in musical theatre history when [the writer Joseph] Stein travelled to Tokyo for the Japanese premiere. After the performance a fan approached Stein expressing his surprise that the musical with such themes as holding on to tradition could have ever worked in a place like New York. “It’s so Japanese,” he said.
More about: Anglo-Jewry, Fiddler on the Roof, Musical theater