A beloved theatrical classic from Tony Award-winner Joseph Stein, and Pulitzer Prize-winners Jerry Bock and Sheldon Harnick, FIDDLER ON THE ROOF is directed by Tony Award-winner Bartlett Sher (South Pacific, The King and I); choreographed by the acclaimed Israeli choreographer Hofesh Shechter; inspired by the original choreography of Jerome Robbins; and has musical direction by Ted Sperling.
FIDDLER ON THE ROOF is the heartwarming story of fathers and daughters, husbands and wives, and life, love and laughter. This classic musical is rich with Broadway hits, including “To Life (L’Chaim!),” “If I Were A Rich Man,” “Sunrise Sunset,” “Matchmaker, Matchmaker,” and “Tradition.”
Whether you're a Fiddler On The Roof virgin or experiencing it for the umpteenth time, Bartlett Sher and Hofesh Schecter's 21st-century interpretation of a 20th-century classic deserves to be seen, savored, and celebrated.
FIDDLER ON THE ROOF is a lovely show that may remind you of your own family and that will certainly send you home singing. Sound and lighting are always perfect at the Pantages, so this is a musical that you will certainly enjoy.
Performances are solid, though a few are ridiculously laden with shtick. Weil is required to play Motel as a querulous, milquetoast mess. Surely anyone who has had to ask a father for permission to marry his child can appreciate Motel's utter anxiety without watching his humiliated dive under Tevye's milk cart.
What village would keep relying on a rabbi (Michael Hegarty) who seems senile? Why does Yenta have a New York accent? And the acknowledgement of the orchestra by a character or two takes us out of life in Anatevka.
Whether you're a Fiddler On The Roof virgin or experiencing it for the umpteenth time, Bartlett Sher and Hofesh Schecter's 21st-century interpretation of a 20th-century classic deserves to be seen, savored, and celebrated.
FIDDLER ON THE ROOF is a lovely show that may remind you of your own family and that will certainly send you home singing. Sound and lighting are always perfect at the Pantages, so this is a musical that you will certainly enjoy.
Performances are solid, though a few are ridiculously laden with shtick. Weil is required to play Motel as a querulous, milquetoast mess. Surely anyone who has had to ask a father for permission to marry his child can appreciate Motel's utter anxiety without watching his humiliated dive under Tevye's milk cart.
What village would keep relying on a rabbi (Michael Hegarty) who seems senile? Why does Yenta have a New York accent? And the acknowledgement of the orchestra by a character or two takes us out of life in Anatevka.
