DOCSLIB.ORG

Fiddler on the Roof Department of Theatre, Florida International University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fiddler on the Roof Department of Theatre, Florida International University Florida International University FIU Digital Commons Department of Theatre Production Programs Department of Theatre Fall 1996 Fiddler on the Roof Department of Theatre, Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/theatre_programs Part of the Theatre and Performance Studies Commons Recommended Citation Department of Theatre, Florida International University, "Fiddler on the Roof" (1996). Department of Theatre Production Programs. 3. https://digitalcommons.fiu.edu/theatre_programs/3 This work is brought to you for free and open access by the Department of Theatre at FIU Digital Commons. It has been accepted for inclusion in Department of Theatre Production Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Thefaculty and staff of theDepartment ofTheatre and Dance would like to welcomeyou to this productionof Fiddleron the Roof Theopening of the Herbert and Nicole Wertheim Performing ArtsCenter is theculmination of a long-helddream. Since FIU's opening in 1972, we have beenpresenting our productions in spacesnot designed to betheatres. While what we hope havebeen enjoyable evenings of theatrein VH100 and OM 150 , workin thesespaces has alwayspresented us with challenges.While the challengeshave been stimulating to our imaginations, wehave longed for a "real"theatre. Nowour dreams are realized; two beautiful , well-equippedperforming spaces. And for our audience,a wonderful environment in which to viewtheatre. We expect the new facilities will stimulateus to higherlevels of theatreperformance. We welcome you to join with us in enjoyingthe benefits of our newhome. We hope you enjoy tonight's performance and are ableto join usfor the other great shows this Season! TheraldTodd Chairperson, Departmentof Theatre and Dance FIU THEATRE PRESENTS basedon SholemAleichem stories by specialpermission of ArnoldPerl Bookby JOSEPHSTEIN Music by JERRYBOCK Lyricsby SHELDONHARNICK OriginalDirection Reproduced by PhillipM. Church Scenic& LightingDesign ........... .........................Douglas Molash CostumeDesign . ................................................Marilyn R. Skow MusicalDirection ...................... ..........................John Augenblick OriginalChoreography Reproduced by Ron Headrick Producedon the NewYork Stage by HaroldPrince OriginalNew York Stage Production Directed and Choreographed by JEROMEROBBINS THECAST Tevye.. ....................................................................................................James Puig Golde.... ....................................................................................lvania S . Sotomayor Tzeitel.. ..............................................................................................Amelia Berson Hodel........... ...........................................................................................Lilly Bernal Chava.................................................. ... ...................................Tamala Horbianski Shprintze... ...................................... ... ...............................Melissa Gonzalez Bielke. ......... .Ht~:;·········;~tc··········· ·~ ··· ....................................Kat .herineD~~Y Yente. ..........,,, · ,;:;;,........ .. .. ......... ........ .................Adriana Gavina Motel..... ...../'11 .IL. ..................................Andy Senor Perchik.. ......:'!:,,, .~r:. .. ...............................Daniel G . Pino LazarWolf ... ....: '.~:'.':'::'.'.':....... .............................Yamil Piedra GrandmaTzeitel/Ruth .... .... ...............Edwidge DeJean Fruma-Sarah/Zelda..... ........ ... ... ..........Alexandra Piccione Shandel.. ................ ............... .. ................Maggie Gomez Mordcha.. ............. ....... ;,t·····..... ..Eduardo J. Garcia Rabbi. ................ ........... ... ........Odell Rivas Mendel................ .. · · ............ .. ...... MannyDoreste Avram................ ..... ....Y, ff.. ...........Darryl Levy Nahum. ............: .. .. .......-v. :............ Edwin Perez Yussel... .. .. .. .. .........................Brandon Brito Isaac.. ..........~ ··· . ... ...................Luis.Arguello Jacob............. · . ... .. .. ....................Felix Manya Schumuel.......... ........ ...............Oldy McFarlane Saul..................................................... ... ............Juan Rodriguez Mirala...... .......................................................... .. ................Ivette Sotomayor Sofia. .....................................................................................................Robin Miller Zahavah... .............................................................................................Mikala Moss Mikaella.......... ................................................................................Karol Ann Vilaire Raisa... .........................................................................................Jessica Pusceddu Suruh.. .......................................................................................Agnes Tsangaridou Shayna.. ............................................................................................Tanisha Moore Hannah... ..............................................................................................Yasmin Ortiz Mezvedeve.... .................................................................................Yesenia Salvador Ithel .... ..............................................................................................Peggy Scirocco Children..... ................................................Stephanie Santagat i & TiffanySantagati ConstableWladimir . ........................................................................Michael Walters Fyedka... ...............................................................................................Emery Sheer Boris (1st Russian).. ...........................................................................Pablo Cartaya Sasha(2nd Russian).. ..................................................................Charles Quinteros Fiddler......... .............................................................................................Paulo Df az ORCHESTRA JohnAugenblick , conductor AngieHarley , SakiraHarley , DanaPatterson , HsuChia-ming , PaulShewchuk , KelleyWarren , BogarGuzman , AntonyLalli , GeorgeM. Linakis, JulioFresno , CindyShea , MattSchuler , SamLussier , JeffMeyer , ClayLawrey , RemyTaveras , andLudwig Anfanso ACTONE · Prologue Exteriorof Tevye'sHouse "Tradition" Scene1 Interiorof Tevye'sHouse "Matchmaker" Scene2 Exteriorof Tevye'sHouse "If I Werea Richman" Scene3 Interiorof Tevye'sHouse "SabbathPrayer" Scene4 The Inn "To Life" Scene5 A StreetOutside the Inn Scene6 Exteriorof Tevye'sHouse "Miracleof Miracles" Scene7 Tevye& Golde'sBedroom "TheDream" Scene8 VillageStreet & Motel'sTailor Shop Scene9 Tevye'sYard "Sunrise Sunset" Scene1 O Tevye'sYard "WeddingDance" Therewill be oneten-minute intermission. ACTTWO Prologue Exteriorof Tevye'sHouse Scene1 Exteriorof Tevye'sHouse "Now I HaveEverything" "Do YouLove Me?" Scene2 VillageStreet "TheRumor" Scene3 RailroadStation "FarFrom the HomeI Love" Scene4 VillageStreet Scene5 Motel'sTailor Shop Scene6 A Road "ChavaSequence" "TraditionReprise" Scene7 Exteriorof Tevye'sHouse "Anatevka" Scene8 Exteriorof Tevye'sHouse DIRECTOR'SNOTES Onthe nightof September22nd , 1964,at Broadway'sImperial Theatre , a musical phenomenontook place which was to becamethe longest running show in Broadwayhistory. Theproduction was to alterthe faceof musicaltheatre with the emergenceof the "conceptmusical." I refer,of course, to the musicalFIDDLER ONTHE ROOF. It is fitting that FIU's spectacularnew Herbert and Nicole Wertheim PerformingArts Centeropen its doorsto a newera of theatreproduction and train­ ing with this very samemusical! FIDDLERON THE ROOF consistently proves to be oneof the mostpopular musicals in Americanmusical repertoire. What is it that keepsthis musicalconstantly in pro­ ductionin professional, collegeand community theatres? Certainly, one cannot begin to compareit to the breathtakingtechnological spectacles which we areaccustomed to seeingtoday. FIDDLERhas been around for thirty-threeyears , showingno signs of diminishingany time soon. Perhapsthe secretof its successis in a word;human­ ity. Hereis a plot aboutordinary people , peoplewho struggle, peoplewith a strong identificationwith the needfor survival. Strongpolitical overtones are unapologeti­ callydeveloped . Childrenyearn to havea voicein the fate of their lives. Tradition­ boundelders are unconcerned by the progressmade by the restof theworld, uncon­ cerned, that is, until the safehaven of their communityis threatened.FIDDLER ON THEROOF is ultimatelyabout change. The fear of change.Resistance and avoidance to change.And finally , the discoveryof enlightenmentthrough change. Such strug­ gles, joys, fears, pleasuresand doubts are punctuated with songand dance , resonat­ ing with the universalspirit of celebration, a spiritwhich we oncepossessed as chil­ dren. Whatis so strikingis thatthese people , Jews, oppressedand outcast , tiedto a villagein the Paleof Settlementin the Ukraine,openly express the celebrationof life andof death.These characters remind us that , regardlessof the struggleand the dif­ ferences, changecan be accepted without loss of faith or familyconnection. Regardlessof whatcountry or languageFIDDLER ON THE ROOF is performedin , the musicaladdresses its audienceon manylevels.
Load more

Recommended publications
  • Film Essay for “Tevye”
    Tevye By J. Hoberman In summer 1939, actor-director Maurice Schwartz began work on his long-delayed “Tevye,” the film he first proposed in 1936 and had publicly announced in January 1938. Schwartz, who based his film on the stories of leading Yiddish author and playwright Sholom Aleichem, created and starred in a stage play of “Tevye” twenty years before. A $70,000 ex- travaganza, the film was produced by Harry Ziskin, co-owner of the largest kosher restaurant in the Times Square area. After three weeks of rehearsal on the stage of the Yiddish Art Theater, shooting began on a 130-acre potato farm near Jericho, Long Island. On August 23, midway through the shoot, Hitler seized Danzig. A Nazi invasion of Poland seemed imminent. Political tensions and the deterioration of the Euro- pean situation were felt on the set of “Tevye.” Many Maurice Schwartz as Tevye the Dairyman. of those involved in the production had family in Poland; some were anxious to return. Actor Leon contrast, “Fiddler on the Roof,” filmed by Norman Liebgold booked passage on a boat leaving for Jewison in 1973, emphasizes the generational gap Poland on August 31. But “Tevye” had fallen behind between Tevye and his daughters and ends with schedule – a number of scenes had been ruined Khave and her Gentile husband leaving for America due to the location’s proximity to Mitchell Airfield. along with Tevye. Although his visa had expired, Liebgold was com- pelled to postpone his departure. The next day, On one hand, Schwartz’s “Tevye” stands apart from the Nazis invaded Poland.
    [Show full text]
  • Course Submission Form
    Course Submission Form Instructions: All courses submitted for the Common Core must be liberal arts courses. Courses may be submitted for only one area of the Common Core. All courses must be 3 credits/3 hours unless the college is seeking a waiver for a 4-credit Math or Science course (after having secured approval for sufficient 3-credit/3-hour Math and Science courses). All standard governance procedures for course approval remain in place. College Kingsborough Community College Course Number Yiddish 30 Course Title Yiddish Literature in Translation l Department(s) Foreign Languages Discipline Language and Literature Subject Area Enter one Subject Area from the attached list. Yiddish Credits 3 Contact Hours 3 Pre-requisites English 12 Mode of Instruction Select only one: x In-person Hybrid Fully on-line Course Attribute Select from the following: Freshman Seminar Honors College Quantitative Reasoning Writing Intensive X Other (specify): Liberal Arts/ Gen Ed Catalogue Designed for non-Yiddish speaking students, course consideration is on the emergence of Yiddish writers in the Description modern world. Emphasis is on the main literary personalities and their major contributions. All readings and discussions in English. Syllabus Syllabus must be included with submission, 5 pages max Waivers for 4-credit Math and Science Courses All Common Core courses must be 3 credits and 3 hours. Waivers for 4-credit courses will only be accepted in the required areas of Mathematical and Quantitative Reasoning and Life and Physical Sciences. Such waivers will only be approved after a sufficient number of 3-credit/3-hour math and science courses are approved for these areas.
    [Show full text]
  • Fiddler on the Roof’
    Solihull School Presents 20th - 24th March 2012 Bushell Hall After Tevye leaves, Perchik rejoices his good fortune, admitting to Hodel, “Now I Have Everything.” Confused by the changes taking place in his world, Tevye for the fi rst time asks Golde “Do You Love Me?” Eventually, Hodel’s strong love for Perchik compels her to leave her family and travel “Far from the Home I Love” in order to be with her beloved in Siberia. Chava, the third daughter, secretly begins to see a young Russian gentile, Fyedka. Although Tevye has weathered the unexpected courtships of Tzeitel and Hodel with dignity, he is unable to tolerate this further and more radical defi ance of tradition. Chava’s contemplation of marrying outside of the Jewish faith is a violation of his religious beliefs, and Tevye vehemently forbids her to continue the relationship with Fyedka. When she persists, Tevye, who can bend no farther, banishes her from the family, refusing to acknowledge Chava as his daughter. By this time, the Tsar has ordered that all Jews evacuate their homes, and the village reluctantly begins to pack their belongings. Knowing that she may never see her parents and sisters again, Chava returns briefl y for a fi nal reconciliation, SYNOPSIS explaining that Fyedka and she are also moving away from Anatevka because they cannot remain amongst people who treat others with such callousness. The place is Anatevka, a village in Tsarist Russia. The time is 1905, the eve of the revolution. The musical opens with the Although Golde cannot challenge her husband’s edict to ignore Chava’s overtures, Tzeitel consoles her younger sister by pulling haunting strains of a fi ddler perched precariously on a roof.
    [Show full text]
  • |||GET||| Tevye the Dairyman and Motl the Cantors Son 1St Edition
    TEVYE THE DAIRYMAN AND MOTL THE CANTORS SON 1ST EDITION DOWNLOAD FREE Sholem Aleichem | 9780143105602 | | | | | Tevye Dairyman For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. Seller Image. More information about this seller Contact this seller 4. Contains some markings such as highlighting and writing. Sholom Aleichem. Just a moment while we sign you in to your Goodreads account. Seller Rating:. His silliness comes across on the screen in other ways - he tries to assert his dictatorial authority to little effect, and on one occasion looks like a toddler having a tantrum instead. Tevye is a stubborn curmudgeon in many ways who will not see his part in his own undoings and yet he evokes sympathy due to his general good outlook, albeit tinged with a la I thoroughly enjoyed this satirical voyage through the lives of two slightly exaggerated Jewish males. Book category Adult Fiction. About this product. This Sholom Aleichem is amazing -- I've read two of his books in the last couple of months and I laughed and cried and learned so much from each of them. Another of the less pleasant, yet historically interesting, notable features of Motl was child characters learning sexism from adults via cumulative remarks. The guy runs a dairy, after all. Condition: acceptable. Tevye is the lovable, Bible-quoting father of seven daughters, a modern Job whose wisdom, humor, and resilience inspired the lead character in Fiddler on the Roof. In exchange, this guy tutors Tevye's daughters. Pickup not available. Once I'd seen too many pictures Tevye the Dairyman and Motl the Cantors Son 1st edition heaps of dead people's glasses and shoes and they ceased to have an impact.
    [Show full text]
  • Tevye the Dairyman a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
    Tevye the Dairyman A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/tevye-dairyman. Introduction Sholem Aleichem, the pseudonym of Sholem Rabinovitch (1859-1916), was one of the greatest Jewish writers of modern times, a pioneer of literary fiction in Yiddish who transformed the folk materials and experiences of Eastern European Jews into classics of world literature. His most beloved character, Tevye the Dairyman, became the protagonist of stage and film adaptations, including the Broadway musical and film Fiddler on the Roof, securing his place in popular culture worldwide; even before that, though, Sholem Aleichem's stories featuring Tevye were appreciated as brilliant comic distillations of modern Jewish experience. This kit provides resources with which teachers can introduce their students to the character of Tevye and to the choices that have been made in presenting and performing this character over the years. Subjects Eastern Europe, Fiction, Film, Performance, Yiddish Reading and Background: Several translations of Sholem Aleichem’s Tevye stories are available in paperback, suitably priced for teaching; these include Hillel Halkin’s in Tevye the Dairyman and the Railroad Stories (1987) and Aliza Shevrin’s in Tevye the Dairyman and Motl the Cantor’s Son (2009). A short biographical article on Sholem Aleichem can be found in the YIVO Encyclopedia, while Jeremy Dauber’s The Worlds of Sholem Aleichem (2013) presents a full, appropriately page-turning treatment of the writer’s life and legacy. Alisa Solomon’s Wonder of Wonders: A Cultural History of Fiddler on the Roof (2013) offers a robust, wide-ranging survey of the creation of the musical and its worldwide influence.
    [Show full text]
  • FIDDLER on the ROOF Is Presented with Special Arrangement with Music Theatre Internatio Bethany Public Schools Administration
    FIDDLER ON THE ROOF is presented with special arrangement with Music Theatre Internatio Bethany Public Schools Administration Superintendent Middle School Principal Drew Eichelberger Trey Keoppel Elementary Principal High School Principal Reuben Bellows Mark Melton Director Annie Mann Vocal Director Joanie Gregory-Pullen Technical Director & Choregrapher Steveanne Bielich Pit Orchestra Director Steve Sharp Assistant Vocal Director Christine Wagner Guest Director Tabitha Fine FOOTLOOSE Stage Adaptation by DEAN PITCHFORD and WALTER BOBBIE Based on the original screenplay by Dean Pitchford Music by TOM SNOW Lyrics by DEAN PITCHFORD Additonal music by ERIC CARMEN, SAMMY HAGAR, KENNY LOGGINS and JIM STEINMAN Footloose Cast Ren McCormack..............................................................................................................................Ian Walsh Reverend Shaw Moore................................................................................................................Luke Spear Ariel Moore...................................................................................................................................Nolia Sweatt Vi Moore................................................................................................................................ ......Brooke Sailer Ethel McCormack.......................................................................................................................Bella Warner Williard Hewitt...........................................................................................................
    [Show full text]
  • A Hundred Years Since Sholem Aleichem's Demise Ephraim Nissan
    Nissan, “Post Script: A Hundred Years Since Sholem Aleichem’s Demise” | 116 Post Script: A Hundred Years since Sholem Aleichem’s Demise Ephraim Nissan London The year 2016 was the centennial year of the death of the Yiddish greatest humorist. Figure 1. Sholem Aleichem.1 The Yiddish writer Sholem Aleichem (1859–1916, by his Russian or Ukrainian name in real life, Solomon Naumovich Rabinovich or Sholom Nokhumovich Rabinovich) is easily the best-known Jewish humorist whose characters are Jewish, and the setting of whose works is mostly in a Jewish community. “The musical Fiddler on the Roof, based on his stories about Tevye the Dairyman, was the first commercially successful English-language stage production about Jewish life in Eastern Europe”. “Sholem Aleichem’s first venture into writing was an alphabetic glossary of the epithets used by his stepmother”: these Yiddish 1 http://en.wikipedia.org/wiki/File:Sholem_Aleichem.jpg International Studies in Humour, 6(1), 2017 116 Nissan, “Post Script: A Hundred Years Since Sholem Aleichem’s Demise” | 117 epithets are colourful, and afforded by the sociolinguistics of the language. “Early critics focused on the cheerfulness of the characters, interpreted as a way of coping with adversity. Later critics saw a tragic side in his writing”.2 “When Twain heard of the writer called ‘the Jewish Mark Twain’, he replied ‘please tell him that I am the American Sholem Aleichem’”. Sholem Aleichem’s “funeral was one of the largest in New York City history, with an estimated 100,000 mourners”. There exists a university named after Sholem Aleichem, in Siberia near China’s border;3 moreover, on the planet Mercury there is a crater named Sholem Aleichem, after the Yiddish writer.4 Lis (1988) is Sholem Aleichem’s “life in pictures”.
    [Show full text]
  • Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
    EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
    [Show full text]
  • Director's Vision
    Director’s Vision by Rob Ruggiero “One of the great works of the American musical theatre. It is touching, beautiful, warm, funny and inspiring. It is a work of art.” John Chapman, Daily News How does one prepare to direct one of the great musicals of all time? That’s a tough question—and as with every artistic journey, it starts with the play, and this magnificent story. There is a reason Fiddler on the Roof is one of the most produced, most loved musicals ever—it has entertained and moved audiences for 50 years since its first production in 1964. It has been translated into multiple languages and has been produced all over the world. What is it about this simple story of Tevye the milkman and his five daughters living in 1905 Tsarist Russia that can cross the boundaries of the world it lives in and touch so many different cultures? I think it is because the musical brilliantly articulates the universal struggle between tradition and change. Change is scary. We all fear change, and change that speaks to the root of who we are can be the most terrifying perhaps because it hits so close to home. Tevye and his family of friends and neighbors are forced to confront a changing world. This journey is extremely personal, and challenges them in ways they could never have expected. They must evolve or atrophy. There are ways to accept change but not lose the essence of who you are and what you believe. Audiences cannot help but connect with this struggle, both with humor and with great feeling.
    [Show full text]
  • Myers, Allison.Pdf
    FROM ALEICHEM TO ALLEN: THE JEWISH COMEDIAN IN POPULAR CULTURE by Allison Myers A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Bachelor of Arts in English with Distinction. Spring 2010 Copyright 2010 Allison Myers All Rights Reserved FROM ALEICHEM TO ALLEN: THE JEWISH COMEDIAN IN POPULAR CULTURE by Allison Myers Approved: ______________________________________________________________________________________ Elaine Safer, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: ______________________________________________________________________________________ Ben Yagoda, M.A. Committee member from the Department of English Approved: ______________________________________________________________________________________ John Montaño, Ph.D. Committee member from the Board of Senior Thesis Readers Approved: ______________________________________________________________________________________ Ismat Shah, Ph.D. Chair of the University Committee on Student and Faculty Honors ACKNOWLEDGMENTS I would like to express utmost gratitude to my thesis advisor, Elaine Safer, for all the guidance she has given and for all the jokes she has told me over the course of writing my thesis. I also extend my thanks to Ben Yagoda and John Montaño, my thesis committee, for guiding me in this process. It is because of University of Delaware’s incredible Undergraduate Research Program that I was able to pursue my interests and turn it into a body of work, so I owe the department, and specifically Meg Meiman, many thanks. Finally, I am grateful for every fellow researcher, family member and friend who has lent me a book, suggested a comedian, or just listened to me ramble on about the value of studying Jewish humor. iii TABLE OF CONTENTS Abstract .................................................................................................................................................................
    [Show full text]
  • Fiddler on the Roof 6/96
    Civil War Study Guide.qxd 9/13/01 10:31 AM Page 3 MUSIC THEATRE INTERNATIONAL MUSIC THEATRE INTERNATIONAL is one of the world’s major dramatic licensing agencies, specializing in Broadway, Off-Broadway and West End musicals. Since its founding in 1952, MTI has been responsible for supplying scripts and musical materials to theatres worldwide and for protecting the rights and legacy of the authors whom it represents. It has been a driving force in cultivating new work and in extending the production life of some of the classics: Guys and Dolls, West Side Story, Fiddler On The Roof, Les Misérables, Annie, Of Thee I Sing, Ain’t Misbehavin’, Damn Yankees, The Music Man, Evita, and the complete musical theatre works of composer/lyricist Stephen Sondheim, among others. Apart from the major Broadway and Off- Broadway shows, MTI is proud to represent youth shows, revues and musicals which began life in regional theatres and have since become worthy additions to the musical theatre canon. MTI shows have been performed by 30,000 amateur and professional theatrical organizations throughout the U.S. and Canada, and in over 60 countries around the world. Whether it’s at a high school in Kansas, by an all-female troupe in Japan or the first production of West Side Story ever staged in Estonia, productions of MTI musicals involve over 10 million people each year. Although we value all our clients, the twelve thousand high schools who perform our shows are of particular importance, for it is at these schools that music and drama educators work to keep theatre alive in their community.
    [Show full text]
  • The Americanization of Tevye Or Boarding the Jewish "Mayflower" Author(S): Seth L
    The Americanization of Tevye or Boarding the Jewish "Mayflower" Author(s): Seth L. Wolitz Source: American Quarterly, Vol. 40, No. 4 (Dec., 1988), pp. 514-536 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2713000 Accessed: 11-05-2015 19:54 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to American Quarterly. http://www.jstor.org This content downloaded from 128.83.205.78 on Mon, 11 May 2015 19:54:54 UTC All use subject to JSTOR Terms and Conditions The Americanizationof Tevye or Boarding the Jewish Mayflower SETH L. WOLITZ University of Texas, Austin WHEN THE MUSICAL, FIDDLER ON THE ROOF, OPENED ON BROADWAYIN 1964, Zero Mostel in the characterof Tevye introduceda new archetypeinto Amer- ican culturalhistory: the "old country"immigrant. The success of the musical and its film sequel (1971) startledthe producersand creatorsof the musical as much as it delighted audiences of Broadway, the United States, and later the world. Tevye encapsulatedthe world of traditioncoming to terms with modernization,and in particularAmericanization. Tevye was not a new figure for Jewish-Americanaudiences.
    [Show full text]