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Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical
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Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical

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by Barbara Isenberg
 

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The 50th anniversary chronicle of the making of "Fiddler on the Roof," now out in paperback just in time for the Broadway revival of the show!

Overview

The 50th anniversary chronicle of the making of "Fiddler on the Roof," now out in paperback just in time for the Broadway revival of the show!

Editorial Reviews

author of Wendy and the Lost Boys: The Uncommo Julie Salamon

Tradition gives you a wonderful sense of Sholem Aleichem's world and Fiddler's heart- and of the heartbreak that runs through its core. Reading the book, I realized what denomination of Jew I am--a Fiddler on the Roof Jew.
director of the film adaptation of Fiddler on the Norman Jewison

Barbara's book traces the history of Fiddler from the stage to the screen. It is a fascinating story filled with laughter and tears.
From the Publisher

“Half a century of sunrises and sunsets have passed since Fiddler on the Roof opened. It's still playing to full houses somewhere, and theater journalist Isenberg expounds happily on why it remains such a satisfactory hit for all audiences. Who would expect a big Broadway musical about poor shtetl Jews to become such a big hit? Yet Fiddler, based on stories set in Czarist Russia by the popular Yiddish writer Sholem Aleichem, broke box office records...The star, of course, was a mad comic genius, the egocentric Zero Mostel, who loathed the difficult directorial genius, equally egocentric Jerome Robbins... The popular 1971 film, under the guidance of Norman Jewison (not Jewish), starring Israeli actor Chaim Topol, with Isaac Stern fiddling, carried Fiddler's reputation still further. For many of a certain age, the musical's score is ingrained, part of the DNA. Isenberg's readable, straightforward history... is a loving tribute to a cultural phenomenon.” —Kirkus Reviews

“The seemingly hyperbolic subtitle of award-winning journalist and theater author Isenberg's tribute to Fiddler on the Roof, "the world's most beloved musical," is entirely justified. Interviews with the principal creators, actors, and allied personnel juxtaposed with detailed number-crunching statistics and balance-sheet information and a breezily deft narrative explicate the inherent charm and soul of Fiddler. The author has created a most endearing valentine to honor the production on its upcoming 50th anniversary (the show opened on Broadway's Imperial Theatre September 22, 1964)… VERDICT: A deliciously rich and detailed story of an American musical-theater jewel… An obligatory purchase for every musical theater collection.” —Library Journal

“Barbara's book traces the history of Fiddler from the stage to the screen. It is a fascinating story filled with laughter and tears.” —Norman Jewison, director of the film adaptation of Fiddler on the Roof

“Tradition gives you a wonderful sense of Sholem Aleichem's world and Fiddler's heart- and of the heartbreak that runs through its core. Reading the book, I realized what denomination of Jew I am--a Fiddler on the Roof Jew.” —Julie Salamon, author of Wendy and the Lost Boys: The Uncommon Life of Wendy Wasserstein

“Barbara Isenberg's history of Fiddler on the Roof, from Sholom Aleichem's Tevye stories to Norman Jewison's film and beyond, is definitive. I can't imagine anyone covering the subject more fascinatingly or eloquently. As someone who was lucky enough to be part of the saga, I applaud Tradition!” —Hal Prince

“Barbara Isenberg's book about the making of Fiddler itself has all the qualities that make that musical so great: it's drenched in humanity, it's full of joy and sorrows, beautifully rendered, it's often very funny and it's almost somber in the way it appreciates the process through which unforgettable theatre has to be born. The early parts of it, which I lived through, hit me with, if I wanted to be pretentious (and I do) a truly Proustian surge; the rest of it conveyed all the richness and fascination it surely had for all those participants. I think as many people who love Fiddler on the Roof will love this book. In other words, people all over the world.” —Austin Pendleton

“Great works of art seem to have been created effortlessly. They appear as whole, solid and eternal as if they'd always existed in their perfection. Fiddler on the Roof is one of those works. Every element of the story, script, music and lyrics are so naturally balanced and complete that it seems impossible to imagine the success of this piece was ever in question or that its creators ever floundered. Here, Barbara Isenberg uncovers sweat and tears behind the curtain through the stories of those who were actually there. And then, she carries us forward to this day's productions which keep Fiddler on the Roof before generation after generation of appreciative audiences. Brava, Barbara!!!!” —Harvey Fierstein

Library Journal
08/01/2014
The seemingly hyperbolic subtitle of award-winning journalist and theater author Isenberg's tribute to Fiddler on the Roof, "the world's most beloved musical," is entirely justified. Interviews with the principal creators, actors, and allied personnel juxtaposed with detailed number-crunching statistics and balance-sheet information and a breezily deft narrative explicate the inherent charm and soul of Fiddler. The author has created a most endearing valentine to honor the production on its upcoming 50th anniversary (the show opened on Broadway's Imperial Theatre September 22, 1964). Divided into four parts, the book traces the genesis of the musical, focusing on the creative team of composer Jerry Bock, lyricist Sheldon Harnick, and librettist Joseph Stein, along with producer Harold Prince, director/choreographer Jerome Robbins, and, of course, Sholom Aleichem, the author of the tales on which Tevye and the Russian shtetl of Anatevka are based. Subsequent sections discuss the show's historic Broadway run, the Norman Jewison film (1971), and the global phenomenon of Fiddler's longevity. VERDICT A deliciously rich and detailed story of an American musical-theater jewel. The snarky Zero Mostel anecdotes alone are worth the price of admission. An obligatory purchase for every musical theater collection.—Barry X. Miller, Austin P.L., TX

Kirkus Reviews
2014-06-18
Half a century of sunrises and sunsets have passed sinceFiddler on the Roofopened.It’s still playing to full houses somewhere, and theater journalist Isenberg (Conversations with Frank Gehry, 2009, etc.) expounds happily on why it remains such a satisfactory hit for all audiences.Who would expect a big Broadway musical about poor shtetl Jews to become such a big hit? YetFiddler, based on stories set in Czarist Russia by the popular Yiddish writer Sholem Aleichem, broke box office records. As Isenberg writes, many talented professionals contributed to its success. Playwright Joseph Stein kept writing and revising the book. Where producer Harold Prince found investors isn’t revealed, but the author notes how the show got its name, which reminded theatergoers that there would be music. Lyricist Sheldon Harnick and composer Jerry Bock wrote dozens of tunes and lyrics, but less than a third made it to opening night. The author also examines the casting process: For the lead role of Tevye, would they cast Rod Steiger? Walter Matthau? The star, of course, was a mad comic genius, the egocentric Zero Mostel, who loathed the difficult directorial genius, equally egocentric Jerome Robbins. The director didn’t like being Jewish and had to research appropriate customs. Despite indifferent opening reviews,Fiddlerwas an evergreen blockbuster, tugging on heartstrings across the world over thousands of road shows, community theaters and high schools. The popular 1971 film, under the guidance of Norman Jewison (not Jewish), starring Israeli actor Chaim Topol, with Isaac Stern fiddling, carriedFiddler’s reputation still further. For many of a certain age, the musical’s score is ingrained, part of the DNA.Isenberg’s readable, straightforward history—less a critical analysis than Alisa Solomon’sWonder of Wonders(2013), which covers the same territory—is, with just an expedient hint of schmaltz, a loving tribute to a cultural phenomenon.

Product Details

ISBN-13:
9781250075376
Publisher:
St. Martin's Press
Publication date:
08/25/2015
Edition description:
First Edition
Pages:
272
Sales rank:
458,275
Product dimensions:
6.10(w) x 9.10(h) x 0.80(d)

Read an Excerpt

Tradition


By Barbara Isenberg

St. Martin's Press

Copyright © 2014 Barbara Isenberg
All rights reserved.
ISBN: 978-1-4668-6252-4



CHAPTER 1

The Boys

In the fall of 1960, a friend sent lyricist Sheldon Harnick a copy of Sholem Aleichem's 1909 novel Wandering Stars, with the notion it might make a good musical. Harnick read the book, agreed, and sent it along to his longtime collaborator, composer Jerry Bock. The two men had written the scores for Pulitzer Prize–winner Fiorello! and the musical Tenderloin and were looking for a new project.

Bock was also intrigued by Wandering Stars, the sprawling tale of a traveling Yiddish theater company. So the two men took the idea to playwright Joseph Stein, with whom they'd first worked on the 1958 musical The Body Beautiful.

"I loved it," Harnick recalled. "I thought, Ooh, this is a musical, and when I gave it to Jerry, he said, 'Ooh, this is a musical.' So we gave it to Joe who said, 'Ooh, this is not a musical.' He said it was just too big a canvas; it would be too hard to reduce it to the stage and have it still be effective."

Body Beautiful, a musical about prizefighting, hadn't worked out, but Stein did like the idea of working with Bock and Harnick again. Since he, too, was ready for his next project, Stein came up with another idea. Wandering Stars reminded him of Aleichem's stories of Tevye the milkman, which his Poland-born father had read to him in Yiddish when he was a boy and which he thought had better odds as a musical.

Aleichem's Tevye stories pivot around the worries and wisdom of dairyman Tevye in a poor Russian village, or shtetl, where he is blessed with a skeptical wife and many daughters to marry off. In the closing years of Tzarist Russia, amid pogroms and poverty, the irrepressible, Bible-quoting Tevye deals with the untraditional courtships of his "modern" children and simultaneously confronts the political and social changes that threaten his beliefs, community, and traditions.

An incredibly popular writer first in his native Russia, then around the world, Aleichem wrote about three hundred short stories, five novels, and several plays. Born Solomon Rabinowitz, the writer used the pen name Sholem Aleichem, which translates as "peace be with you," and was revered as, among other things, "the Jewish Mark Twain." When Aleichem came to New York, Mark Twain reportedly said to him, "I wanted to meet you because I understand that I am the American Sholem Aleichem."

Few writers were as celebrated in their time as Aleichem, whose funeral in 1916 attracted more than a hundred thousand mourners and included a processional that ran through three New York boroughs. But forty-five years later, Stein had trouble finding English translations of Aleichem's short stories, which he finally came upon in O'Malley's Bookstore and passed along to his collaborators.

Bock, Harnick, and Stein all said that the more they read the Tevye stories and talked about the material, the more excited they became. "The writing struck a resonant tone with us, and we decided to have a go at it," Bock said. "I'm not being modest. We had no idea what would happen to this project. We would do this show, and if it works out, we'd do another. What was special about it was our personal connection to the material.

"I began to hear the music as I read the stories and remembered the lullabies and little melodies my grandmother would sing to me. It was almost as if I recognized and knew these people spiritually. For all of us, the people in the stories brought back early memories of our own families, and we felt confident about plunging into the material."

The "boys," as writers on musicals were often addressed, discussed their project fairly casually at first, then had their first formal meeting in March 1961 to discuss what was then called Tevye. And as they did, Bock took notes, writing down dates and progress in a small, black notebook he called "Tevye diary (beginnings)." By mid-July, he wrote, they had all read the Tevye stories and met a few times. Stein had sketched out a rough outline of the show, and they had begun negotiating with Crown Publishers for the rights.

Proceeding without a producer, they invested not just their time but also their money in getting those rights. "Everything else that we had done had been an assignment or a commission from a producer," said Harnick. "This one we decided to do."

Given their Broadway credits, they all felt it was a calculated risk. "We weren't novices," Stein said. "At that time, all of us were fairly well known in the theater."

Stein, for instance, was still employed as a social worker in 1942 when he met actor Zero Mostel, who gave him his first writing assignment — for fifteen dollars a week. Soon a prominent comedy writer, Stein was an alumnus of Sid Caesar's fabled Your Show of Shows, which also nurtured such talents as Mel Brooks, Carl Reiner, Imogene Coca, Larry Gelbart, Woody Allen, Mel Tolkin, and others. His first Broadway musical, the 1955 Plain and Fancy, about the Amish of Pennsylvania, was very successful, and there were several more before and after Tevye.

Bock, also a Caesar alum, had worked with Stein on the Sammy Davis Jr. vehicle Mr. Wonderful. Before they were introduced by their mutual friend, the actor Jack Cassidy, Bock and Harnick had also independently written assorted songs for Broadway and off-Broadway revues. The two men were brought together to form a songwriting team in 1957 by the music publisher Tommy Valando, and Body Beautiful was their first joint show. Body Beautiful ran just six weeks on Broadway — Harnick quips it would have run seven but there was a blizzard — but its score impressed the producer Harold Prince and led indirectly to their award-winning Fiorello! assignment a short time later.

In his outline for Tevye, Stein worked at turning nineteenth-century stories, written in Yiddish, into something relevant to an English-speaking, twentieth-century theatrical audience. The playwright worried that what might be "amusing" to Aleichem's audience "would be bewildering to ours; what was moving in Yiddish could become oversentimental, even melodramatic." His task: "to remain true to the spirit, the feeling of Sholem Aleichem and ... tell the story of Tevye, his family, and his community in terms which would have meaning for today."

The shtetls of Aleichem's stories also reflected their time and place. Russian Jews had long struggled for survival, anti-Semitism was rampant, and pogroms were becoming more common. The situation worsened with the 1881 assassination of Alexander II, and between 1881 and 1914, almost three million Jews left Russia, most of them headed for the United States.

Adapting that world for the stage was one challenge after another. "They were isolated tales only connected to each other by the central character of Tevye," Stein has said. "So, it was a matter of constructing a total storyline — deciding which tales to use, what aspects of them to use, which characters to use. ... The stories were monologues, written as Tevye saying, 'Let me tell you about what happened to my daughter. You won't believe it.'"

God is an offstage character in Aleichem's stories, and Stein made the most of that. "I don't talk to God, but I did feel the Tevye character would be clearer if he chatted with his best friend, who happened to be God," Stein said. "It's a friendship, like I have with my brother."

Stein was able to use many of the same characters who populated Aleichem's stories as well as several incidents. He honed in on Aleichem's three oldest daughters, Tzeitel, Hodel, and Chava, and their suitors, with the two youngest daughters relegated to the background and two other daughters with sadder stories discarded entirely. As proven by William Shakespeare's King Lear, Anton Chekhov's Three Sisters, and, much later, Julian Fellowes's Downton Abbey, the three-sister setup works well.

The playwright found that little of Aleichem's dialogue was usable, and he also had to beef up his central character of Tevye as the "moving force" in the plot. To give the story more contemporary meaning, he accentuated what he characterized as the "hostility, violence, and injustice" of the time and the way the people of Anatevka harnessed their "internal strength, dignity, humor, and ... unique talent for survival" to deal with it.

The book writers, or librettists, on musicals are often underappreciated, and Harnick felt Stein was among them. Said Harnick, "Some of the critics praised him, but others said he had such an easy job — all he had to do was to quote the stories. But there were very few lines that he could use. There were some. But I would say that ninety-five percent of the show, he had to invent. It was all Joe Stein."

While Stein worked on his outline, Bock and Harnick turned to the score. They began their work on September 11, 1961, which fell that year on Rosh Hashanah, the start of the most sacred of Jewish seasons. The score moved relatively quickly, and within eight weeks, they were already starting their fourth song.

Bock and Harnick had a distinctive way of writing musical scores, explained Bock's friend and lawyer, Richard Ticktin. To start their songs, each would go off to work on his own, then send the other some suggestions. Bock might send Harnick tapes with "snippets of musical moments" or Harnick might send Bock "some lyric moments" he'd written up. Then they would mold their songs together.

The first song they tackled was for Tevye's dream, a dream the patriarch creates to persuade his wife, Golde, to let their eldest daughter, Tzeitel, marry the poor tailor, Motel Kamzoil, rather than the rich butcher, Lazar Wolf. It was a song they felt would stay in the show for plot purposes no matter what changes Stein made to the book.

The dream song did remain in the show, but the next two — "I'll Work for Tomorrow Today" and "A Butcher's Soul" — did not. Then, in November, Harnick received a tape of music Bock felt had "that authentic, folk Russian feel." It was, the composer admitted, "unashamedly sentimental."

It was the music for "Sunrise, Sunset" and, remembered Harnick, "as I continued to listen to it, the words just crystallized automatically. Jerry lived in New Rochelle and when we finished, we called his wife, Patti, down to the basement, and we played it for her. At the end, I looked at her, and she was crying. Then, a while later, I was in Bethesda, Maryland, where my sister lived, and when I played it for her, she was crying. I thought, 'We have something here.'"

Around that time, Bock invited Ticktin over to hear it as well. Again they went down to the upright piano in Bock's basement. "I was the only other person in the room and I was reduced to tears," Ticktin remembered. "I said to myself, This is an extraordinary moment. If the book and the direction turn out as well, this was going to be an enormous event."

Fueled by such reaction, Bock and Harnick turned out song after song, some used in the final show but most not, their lyrics all indexed and kept in a thick, three-hole binder at Harnick's home on New York's Upper West Side. Among them were "Sabbath Prayer," the celebratory "To Life" and something called "Poppa, Help Me," which Harnick recently said even he doesn't remember. Flipping pages, Harnick called out to a visitor long-forgotten titles: "'Promise Me,' 'The Story of Jacob,' 'Baby Birds,' 'Brand New World' ... Now, here's an interesting title: 'Why Jew, Why Gentile?'" He laughed heartily at that one.

To inform all those lyrics, Harnick read not just Aleichem but the Bible and books on Jewish, Russian, and European history. Very helpful was the interview-based 1952 book Life Is with People: The Culture of the Shtetl, which described such traditions as Sabbath meals and rituals, weddings, and prayers. In her foreword to the book, Margaret Mead introduced an "anthropological study of a culture which no longer exists," and that study was clearly useful to the Tevye team.

"When we read those accounts, it really filled in what was missing from Sholem Aleichem," said Harnick, whose parents were both born in Eastern Europe. "For me, the book brought back memories of the little synagogue I attended in Chicago, and I'd picture those gaunt elderly men in their shawls praying."

But their most useful source was clearly Aleichem. "It almost embarrasses me that when people read Sholem Aleichem, they see where I got the lyrics for 'If I Were a Rich Man,'" Harnick told a packed audience at New York's Lincoln Center in 2011. "I'm very smart. I know where to take from."

Bock, however, has said he didn't really feel the need to research klezmer or even Russian music of that period. Instead, unexpectedly, "the music that I hadn't been able to write with all our shows was something that I had silently deposited in my creative mind, and the opportunity to now express myself with that kind of music just opened up a flood of possibilities for me.

"I felt if we had to write fifty more songs, they were still inside me," said Bock. "I felt I had tapped a source that would not run dry, and I think that came from having nourished it without being able to express it all my life."

The final play script of Fiddler on the Roof is dedicated "to our Fathers." As the show's producer Harold Prince said several years later, Fiddler was "clearly conceived" by Stein, Bock, and Harnick "as a kind of valentine to their grandparents." For Prince, their "celebration of what they came from is present throughout the creation of the musical."

CHAPTER 2

Forging Tradition


When it came time to find a producer, the authors turned first to Harold Prince, whom they had all worked with before and respected. But when Prince first read Tevye in 1962, he passed on it. He told the authors that he found it fascinating but "foreign"; it wasn't his background. He was German-Jewish, not Russian-Jewish, Prince said, "and I didn't feel the connection I felt years later with [the musical] Parade and German Jews in the South."

So Bock and Harnick told Prince they had two shows to offer. One was Tevye and the other was a musical called She Loves Me based on The Shop Around the Corner. As Prince said several years later, "Sheldon gave me a book about shtetls — I didn't know what they were — and after I read it, I was even less eager to go there. But I liked the She Loves Me idea, and I said, 'Yes, I'd love to do it.'"

She Loves Me also launched producer Prince's directing career. Born in New York and a theatergoer since he was eight years old, Prince was just twenty when he began his career working for free with legendary producer/director George Abbott. The first musical he coproduced was The Pajama Game in 1954, when he was twenty-six. Soon came such shows as Damn Yankees, West Side Story, and A Funny Thing Happened on the Way to the Forum, just the start of Prince's extraordinary career directing and producing dozens of award-winning musicals.

Prince meanwhile gave them smart advice on the show he had just declined. Get Jerome Robbins, he told them. First of all, Robbins came from a Russian-Jewish background, said Prince, but that wasn't the only reason for his suggestion. "I said, 'For it to be universal, you need a choreographer/director' because I thought dance was an easier language to understand than words."

Stephen Sondheim had also had a hunch it would be a good project for Robbins. "Steve asked me later if I remembered how Jerome Robbins became our director, and I didn't," said Harnick. "He reminded me that Jerry Bock and I had gone to Joe Stein's home in New Rochelle to play the score for a number of invited guests, and Steve was one of them. He liked what he heard and happened to be speaking to Jerome Robbins the next day. When Robbins said he always wanted to do something about Jewishness, Steve said, 'Well, now's your chance. I heard this terrific score.'"

The timing wasn't right for Robbins, however. In the early sixties, he was just coming off the film of West Side Story, which would win him two Academy Awards, and entering another busy time. In addition to dance projects, he had directed Arthur Kopit's Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad, which fared well, and then Bertolt Brecht's Mother Courage and Her Children, which did not. Along the way, he had given up work on two shows he'd hoped to do — A Funny Thing Happened on the Way to the Forum and Funny Girl — only to have both shows run into trouble and ask him to come to the rescue.

Yet Robbins did not decline the Tevye project. Rather, said Harnick, "Robbins said since he'd been asked to go fix Funny Girl and we had an offer to do She Loves Me, why don't we put this on hold and come back to it next year."


(Continues...)

Excerpted from Tradition by Barbara Isenberg. Copyright © 2014 Barbara Isenberg. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

BARBARA ISENBERG, author of Tradition!, is an award winning journalist who has been writing and lecturing about theater for over three decades. She is the author of Making It Big: The Diary of a Broadway Musical, State of the Arts: California Artists Talk About Their Work and Conversations with Frank Gehry. Her work has appeared in the LA Times, the Wall Street Journal, Time, Esquire, The Huffington Post, and London's Sunday Times. She lives in Los Angeles.

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Tradition!: The Highly Improbable, Ultimately Triumphant Broadway to Hollywood Story of Fiddler on the Roof, The World's Most Beloved Musical 5 out of 5 based on 0 ratings. 5 reviews.
ronCA More than 1 year ago
This is a wonderfully engaging, endlessly interesting and well-written book about a true show-business phenomenon. Nobody who loves the theater should miss it.
GirlJo More than 1 year ago
A fun and insightful look at the making of the Fiddler on the Roof musical and movie, Isenberg's book pulls back the curtain to show readers the real history of this beloved production. It's a rare treat of going behind-the-scenes as she interviews so many of the creators who were instrumental in its success. The book is a quick, joyful read and appropriate for theater aficionados and newbies alike. Readers will definitely learn a thing or two about Fiddler's 50-year history. For me, I never knew Fiddler was so beloved around the world, especially Japan!
Anonymous More than 1 year ago
I hate how Laura hardly gets any attention for her portrayal of Hodel in the 2004 revival. Um, hello? There is more than just Mary Poppins and Finding Neverland to her name in theatre. She is just the queen, and nobody acknowledges that. Come on!!!!!! Also, be sure to see the 2015 revival of it at the Broadway Theatre on the Great White Way featuring Melanie Moore and Danny Burstein!!!!!!!!
Tahoeman More than 1 year ago
Fiddler on the Roof—just reading the title conjures up warm and tearful recollection of one of the greatest musicals of all time. All those memories well up on reading Tradition. Somehow, we think of great cultural treasures as being conceived and born just as we finally experience them, but Barbara Isenberg’s insightful and gripping account of the show’s gestation proves that this is far from the truth. Everybody thought the show was far too Jewish to succeed with a mass audience, but producer Harold Prince took a chance on it. Director Jerome Robbins constantly shaped and reshaped the work (driving everyone meshuga in the process) and the composers wrote about 50 songs, most of which were cut. Isenberg digs up many wonderful details, such as Zero Mostel constantly breaking character during his performances as Tevye and Norman Jewison’s need to use marble dust as fake snow in the movie, or the fact that the ladies’ stockings were placed over the camera lens during filming. I recommend that you not read this wonderful book at bedtime, because the haunting melodies will start rushing through your mind and keep you wide awake. Happy 50th birthday to Fiddler on the Roof! L’chaim! May it live a thousand years!
Anonymous More than 1 year ago
Anyone reading this book will instantly see the author's appreciation and respect for her subject. The book flowed and engaged from the first page. A must read for anyone who wants to know the back story to what became Fiddler.