Full Synopsis
Act One
During the Prologue ("Tradition"), Tevye explains the role of God's law in providing balance in the villagers' lives. He describes the inner circle of the community and the larger circle, which includes the constable, the priest and countless other authority figures. He explains, "We don't bother them and so far, they don't bother us." He ends by insisting that, without their traditions, he and the other villagers would find their lives "as shaky as a fiddler on the roof."
Three of Tevye's daughters, Tzeitel, Hodel and Chava, wonder if the matchmaker will ever find them the men of their dreams ("Matchmaker"). The matchmaker, Yente, tells Golde that she has selected the butcher, Lazar Wolfe, as a match for Tzeitel.
Tevye reflects on how much he wishes he had a small fortune ("If I Were a Rich Man"). A group of villagers, including an outsider, Perchik, approaches him with news of a violent pogrom in a nearby village. Tevye invites Perchik, a young revolutionary student, to come to his home for Sabbath dinner and arranges for him to instruct his daughters.
Motel, the tailor, attempts to ask Tevye for Tzeitel's hand, but gets tongue-tied. The family and their guests welcome the Sabbath ("Sabbath Prayer").
Tevye goes to meet Lazar Wolfe, the butcher, and agrees to the match with Tzeitel. A boisterous celebration ensues, involving the villagers and the Russians, who also congregate in the tavern ("L'Chaim").
As Tevye staggers home, he meets the Constable, who warns him that a demonstration is going to be planned against the Jews of Anatevka. In his inebriation, Tevye conjures The Fiddler, who plays his violin as Tevye dances his way home.
Tevye appears and tells Tzeitel about her engagement to Lazar Wolfe. Golde rejoices but, after she leaves, Motel tells Tevye that he and Tzeitel gave each other a pledge to marry. After a struggle with himself, Tevye agrees to their marriage. He leaves and Motel and Tzeitel rejoice ("Miracle of Miracles").
Tevye decides to manufacture a wild nightmare ("The Dream") to convince Golde that the match with Lazar will result in Tzeitel's death at the hands of the butcher's first wife, Fruma-Sarah. Golde is so horrified that she insists on a marriage between Tzeitel and Motel.
The villagers are gossiping in the street about the mix-up in Tzeitel's wedding plans. As Chava enters Motel's tailor shop, a group of Russians on the street taunt her. Fyedka, a Russian youth, insists that they stop. After they leave, Fyedka follows Chava into the shop. He tries to speak with her, but leaves quickly when Motel enters. Motel places his wedding hat on his head.
The musicians lead us to the wedding. The company sings ("Sunrise, Sunset") as the traditional Jewish ceremony takes place. To the villagers' dismay, Perchik asks Hodel to dance with him, and she accepts, performing the forbidden act of dancing with a man. Everyone else follows suit. As the dance reaches a wild high point, the Constable and his men enter. They destroy everything in sight. Perchik grapples with a Russian and is hit with a club. The constable bows to Tevye and says " I am genuinely sorry. You understand?" Tevye replies with mock courtesy, "Of course." The family begins to clean up after the destruction.
Act Two
During the Prologue, Tevye chats with God about recent events. Perchik tells Hodel that he is leaving to work for justice in Kiev. He proposes to her and she accepts ("Now I Have Everything"). He promises to send for her as soon as he can. Tevye approves in spite of his misgivings. After they leave, he asks Golde if she thinks their own arranged marriage has somehow also turned into a romance ("Do You Love Me?")
On a village street, Yente tells Tzeitel that she has seen Chava with Fyedka. The news that Yente has gleaned from a letter from Perchik becomes gossip for the villagers, who turn it into a song that totally distorts the truth ("The Rumor").
Tevye takes Hodel to the railroad station. She is going to Siberia, where Perchik has been sent after his arrest ("Far from the Home I Love").
The villagers are once again gossiping about a new arrival at Motel and Tzeitel's. At Motel's shop, we learn that the new arrival is a sewing machine. Fyedka and Chava speak outside the shop. She promises to speak to Tevye about their love for each other. Tevye appears, and Chava tries to talk to him about Fyedka. Tevye refuses to listen to her and forbids her to ever to speak to him about Fyedka again.
Tevye returns home to learn from Golde that Chava and Fydeka have been married by the priest. Tevye says that Chava is dead to them. He sings of his love for Chava ("Little Bird"). When Chava appears to ask his acceptance, he cannot allow himself to answer her plea. Chava exits as unseen voices sing ("Tradition").
Yente is trying to fix up Tevye's remaining daughters with two boys as future husbands. The Constable brings the news that everyone in the town has to sell their houses and household goods and leave Anatevka in three days. As the villagers think of their future, they sing fondly of the village they are leaving ("Anatevka").
The family is packing the wagon to leave. Tzeitel and Motel are staying in Warsaw until they have enough money to go to America. Hodel and Perchik are still in Siberia. Chava appears with Fyedka. Tevye refuses to acknowledge her. Chava explains that they are also leaving because they cannot stay among people who can do such things to others. They are going to Cracow. Tzeitel says goodbye to them and Tevye prompts Tzeitel to add, "God be with you!" Chava promises Golde that she will write to her in America. Chava and Fyedka leave. Final goodbyes are said as Tevye begins pulling the wagon. Other villagers join the circle, including The Fiddler. Tevye beckons to The Fiddler to follow him. The Fiddler tucks his fiddle under his arm and follows the group upstage as the curtain falls.
Show History
Inspiration
Fiddler on the Roof, with music by Jerry Bock, lyrics by Sheldon Harnick and a book by Joseph Stein, is based on the characters from an anthology of tales entitled Tevye and his Daughters (or Tevye the Dairyman) by Sholem Aleichem. The musical tends to follow the chronology of the stories, ending with the residents of Anatevka being forced to leave their village. In choosing the title for their piece, the creative team looked to Chagall's painting, The Fiddler, a metaphor for survival through tradition and joyfulness, in a life of uncertainty and imbalance.
Bock, Harnick and Stein had all previously worked together on the musical, The Body Beautiful, and came up with the idea of adapting Aleichem's stories to stage. They selected three unconnected Tevye monologues, in which he relates the romantic adventures of his young daughters. Their goal was to use these isolated tales as the basis for a play about the whole community, to tell a larger story that has a dramatic progression from beginning to end, while retaining the rich feeling and tone of the original material. In its early stages, Stein faced the difficulty of essentially having to write text for the new stories while Bock and Harnick wrote 19 songs, eventually settling on a handful for the show.
Productions
After tryouts in Detroit in July and August of 1964, Fiddler on the Roof premiered at Broadway's Imperial Theatre on September 22, 1964. Starring Zero Mostel and featuring direction and choreographer from Broadway icon, Jerome Robbins, the production ran for 3,242 productions and survived two different transfers, finishing its run at The Broadway Theatre. The original West End production opened on December 28, 1976, with Chaim Topol in its lead role, playing for over 2,000 performances.
With such long-running success on both sides of the pond, it was only natural that a number of major revivals would occur. Fiddler on the Roof has had five Broadway revivals in 1976 (Winter Garden Theatre), 1981 (Lincoln Center's New York State Theater), 1990 (George Gershwin Theatre), 2004 (Minskoff Theatre) and 2015 (Broadway Theatre). London revivals occurred in 1983 at the Apollo Victoria Theatre, 1994 at the London Palladium and 2007 at the Savoy Theatre. In addition, the musical has seen four UK tours and one major U.S. tour, titled Topol in Fiddler on the Roof: The Farewell Tour.
Fiddler on the Roof has also been produced in a handful of international productions. Israeli impresario, Giora Godik, staged a Hebrew language version and soon followed that up with a Yiddish version of the same script. The musical has hit the stage in countries like Spain, France and Japan.
Cultural Influence
- The original Broadway production of Fiddler on the Roof was the first to surpass 3,000 performances in a single run.
Critical Reaction
"One of the most glowing creations in the history of the musical theater. ...Filled with laughter and tenderness. It catches the essence of a moment in history with sentiment and radiance."
– The New York Times
"Fiddler on the Roof is a universal story of hope, love and acceptance, a stunning, joyful and jubilant musical masterpiece."
– New York Daily News
"[Fiddler on the Roof] remains a prime example of how musicals with universally relevant themes can elicit timeless appeal. The show's deeply affecting view of familial devotion, cultural pride, and resiliency in the face of shameful oppression all graced with undercurrents of mythical beauty lend the piece an operatic eloquence."
– Backstage
"One of the great musical comedies of our era."
– Newsweek Magazine
"One of the unforgettable stage musical creations of modern Broadway history."
– Variety
"A remarkable musical.... It always works, perhaps because it evokes haunting, half-conscious memories of a world that still lingers deep inside us."
– Women's Wear Daily
"This spellbinding re-creation of the wonderful world of Sholom Aleichem [is] ...a joyous affirmation that America is the world capital of musical comedy.... Seldom has any musical blended so magically music, dance, mummery and literature...."
– Cue
"Joseph Stein and collaborators have... arrived at a remarkably effective mixture that thoroughly entertains without ever losing a sense of connection with more painful realities that underlie its humor, its beauty, its ritual celebrations."
– Saturday Review
"[Jerry Bock and Sheldon Harnick] created bittersweet harmonies. It's their rich and poignantly beautiful score that make this show positively unforgettable."
– Chicago Theater Beat
Tony® Award
Academy Award
Drama Desk Award
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Playbill Vault (Original)
Playbill Vault (1976 Revival)
Playbill Vault (1981 Revival)
Playbill Vault (1990 Revival)
Playbill Vault (2004 Revival)
Billing
- Book by
- Music by
- Lyrics by
- Original Production Directed & Choreographed by
Based on Sholem Aleichem's stories, by special permission of Arnold Perl
Requirements
Book by
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Music by
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Lyrics by
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JOSEPH STEIN
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JERRY BOCK
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SHELDON HARNICK
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Video Warning
In accordance with the Performance License, you MUST include the following warning in all programs and in a pre-show announcement:ANY VIDEO AND/OR AUDIO RECORDING OF THIS PRODUCTION IS STRICTLY PROHIBITED.
Included Materials
Item | Quantity Included |
---|---|
CHOREOGRAPHY MANUAL | 1 |
LIBRETTO/VOCAL BOOK | 26 |
PIANO VOCAL SCORE | 2 |
STUDY GUIDE | 1 |
Production Resources
Resource |
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CUSTOMIZABLE SHOW POSTER |
HOW DOES THE SHOW GO ON-10/CS |
HOW DOES THE SHOW GO ON? |
LOGO PACK |
LOGO PACK DIGITAL |
LOGO TEES SIX-PACK ADULT LARGE |
LOGO TEES SIX-PACK ADULT MEDIUM |
LOGO TEES SIX-PACK ADULT SMALL |
LOGO TEES SIX-PACK ADULT X-LARGE |
LOGO TEES SIX-PACK ADULT XX-LARGE |
LOGO TEES SIX-PACK CHILD LARGE |
LOGO TEES SIX-PACK CHILD MEDIUM |
LOGO TEES SIX-PACK CHILD SMALL |
ORCHEXTRA |
PERFORMANCE ACCOMPANIMENT RECORDING |
PRODUCTIONPRO |
REFERENCE RECORDING |
REHEARSAL ACCOMPANIMENT RECORDING |
REHEARSCORE APP |
SCENE PARTNER |
SCENIC PROJECTIONS |
SCENIC PROJECTIONS PRO |
SCENIC PROJECTIONS-ANIMATED |
SCENIC PROJECTIONS-STILL |
STAGE MANAGER SCRIPT |
STAGE WRITE APPLICATION |
SUBPLOT CUSTOMIZED SHOW POSTER |
VIRTUAL STAGE MANAGER |
STANDARD ORCHESTRATION
Instrumentation | Doubling |
---|---|
ACCORDION | |
BASS | |
CELLO | |
ERRATA LIST | |
GUITAR | ACOUSTIC GUITAR , LUTE , MANDOLIN |
HORN | |
PERCUSSION | BELLS , CHIMES , DRUM KIT , FINGER CYMBAL , TAMBOURINE , TIMBALES , TRIANGLE , TYMPANI , WOOD BLOCK , XYLOPHONE |
REED 1 | FLUTE , PICCOLO |
REED 2 | CLARINET |
REED 3 | BASS CLARINET , CLARINET |
REED 4 | BASSOON |
REED 5 | ENGLISH HORN , OBOE |
TROMBONE | |
TRUMPET | |
TRUMPET 3 | |
VIOLA | |
VIOLIN |
ALTERNATE ORCHESTRATION
Instrumentation | Doubling |
---|---|
ALT: ACCORDIAN | |
ALT: BASS | |
ALT: CELLO | |
ALT: GUITAR | GUITAR , MANDOLIN |
ALT: OPTIONAL KEYBOARD 2 | |
ALT: OPTIONAL TRUMPET 2 | |
ALT: PERCUSSION | BELLS , CHIMES , DRUM KIT , FINGER CYMBAL , GLOCKENSPIEL , MARK TREE , TIMBALES , TIMPANI , TRIANGLE , WOOD BLOCK , XYLOPHONE |
ALT: REED 1 | ALTO FLUTE , FLUTE |
ALT: REED 2 | Bb CLARINET |
ALT: TROMBONE | |
ALT: TRUMPET | |
ALT: VIOLIN |