Notes on
Book by Joseph Stein
Music by Jerry Bock
Lyrics by Sheldon Harnick
Based on Sholom Aleichem stories Produced on the New York Stage by Harold Prince
by special permission of Arnold Perl
Original New York Stage Production
Directed and Choreographed by Jerome Robbins
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NSU Director of Theatre, Daniel Yurgaitis, directs the play and the scenic and lighting design will be by NSU Technical Director, Larry Wild. Music faculty members Raouf Zaidan and Robert Vodnoy will be Vocal and Music Directors respectively for Fiddler on the Roof. Senior musical theatre major Angela Nguyen will be recreating Jerome Robbins' original choreography. Student Mary Holm will be designing the costumes, while the entire production will be stage managed by student Seth Honerman, assisted by Ryan Puffer.
Fiddler on the Roof will be presented for three performances, October 16, 17 and 18 at 7:30 pm nightly in the Johnson Fine Arts Center on the campus of NSU. Advance tickets are $12.00 and $11.00 for students and seniors. Tickets increase $2.00 at the door. There are group rates available for groups of 10 or more. All seats are reserved and tickets will be available in the NSU bookstore beginning on Tuesday, October 6, or by mail. Call the NSU Bookstore at 626-2655 or the NSU Department of Theatre at 626-2563 for additional information.
(Source: Music Theatre International)
(Spoiler warning: Plot and/or ending details follow)
Fiddler on the Roof is set in the small Jewish village of Anatevka, Russia, in 1905 and is concerned primarily with the efforts of Tevye, a dairyman, his wife, Golde, and their five daughters to cope with their harsh existence under Tsarist rule.
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."
Tevye's daughters, 2005 Broadway revival
Tevye's daughters 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.
Broadway Tevyes: Zero Mostel (1964) and Alfred Molina (2005)
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, approach 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.
 from the 1971 motion picture | 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"). |
Original Golde (Maria Karnilova) and Tevye (Zero Mostel)
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.
Norma Crane and Topol
in the 1971 motion picture
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 Bottle Dance" 2005 Broadway revival
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.
During the Act Two 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 she has seen Chava with Fyedka. The news 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 she will write to her in America. Chava and Fyedka leave. Final goodbyes are said and Tevye begins pulling the wagon. Other villagers join the circle, including The Fiddler. Tevye beckons to the The Fiddler to follow him. The Fiddler tucks his fiddle under his arm and follows the group upstage as the curtain falls.
Book
Born in New York City, Stein began his career as a social worker, writing comedy on the side. A chance encounter with Zero Mostel led him to start writing for radio personalities, including Henry Morgan, Hildegarde, Tallulah Bankhead, Phil Silvers, and Jackie Gleason. He later started working in television for Sid Caesar when he joined the legendary writing team of Your Show of Shows that included Mel Brooks, Carl Reiner, Neil Simon, Larry Gelbart, Mel Tolkin, Aaron Ruben, and Woody Allen.
Stein made his Broadway debut contributing sketches written with Will Glickman to the 1948 revue Lend an Ear. His first book musical came about when Richard Kollmar, husband of columnist and What's My Line? panelist Dorothy Kilgallen, asked him to write a musical about Pennsylvania that would promote the state as Rodgers and Hammerstein's Oklahoma! had its namesake. Stein and his writing partner Will Glickman were drawn to the Amish community of Lancaster County. They purchased a 50-cent tourist book filled with Pennsylvania Dutch slang and returned to New York to write Plain and Fancy (1955).
Stein's additional Broadway credits include Alive and Kicking, Mr. Wonderful, The Body Beautiful, Juno, Take Me Along, Irene, Carmelina, The Baker's Wife, Rags, and So Long, 174th Street, the musical adaptation of his play Enter Laughing. He also wrote the plays Mrs. Gibbons' Boys and Before the Dawn and the screenplays for Enter Laughing and Fiddler on the Roof.
Stein's most recent project is the book for the musical All About Us, with a score by Kander and Ebb, based on The Skin of Our Teeth by Thornton Wilder. It premiered at the Westport Country Playhouse in April 2007.
Music
(Source: Songwriter Hall of Fame)
The composer of the Broadway success Fiddler on the Roof was born Jerrold Lewis Bock in New Haven, Connecticut on November 23, 1928.
His family moved to Flushing, New York where Bock studied the piano from an early age and began writing music for various shows while still in high school. His first success came during his high school years, in the form of the musical comedy My Dream. As a senior at the University of Wisconsin, he scored the musical comedy, Big as Life, based on the legend of Paul Bunyon, and put on by Haresfoot, an all-male college musical society. Bock's collaborator was a fellow student, Larry Holofcener, who was to become a co-worker on Bock's early scores. Big as Life, won first prize in an annual university show competition, sponsored by BMI, the performing rights organization. During the summer breaks, the pair worked at Camp Taminent in Pennsylvania's Pocono Mountains. The program called for the preparation of an original one-act weekly revue for 10 consecutive weeks.
Returning to New York following college, Bock and Holofcener were fortunate in being selected to audition their skills for Max Liebman, a producer of early music variety shows for television. They passed the test and joined the staff of The Admiral Broadway Revue, which later became Your Show of Shows, starring one of the world's premiere comedy duos, Sid Caesar and Imogene Coca. The young writers wrote songs for the stars as well as the chorus and the Corps de Ballet.
During the early 50s period, an introduction to the very well-known music publisher, Tommy Valando, resulted in Bock's debut Broadway vehicle, the score for Catch a Star. This was followed by song contributions to Tallulah Bankhead's Ziegfeld Follies, some pop-styled songs for Sarah Vaughan and Bob Manning and a score for a Columbia Pictures short, titled Wonders of Manhattan, which won an honorable mention at The Cannes Film Festival. This highly frenetic period reached its peak, finally, when Jule Styne assigned the score of Mr. Wonderful, which was to star Sammy Davis, Jr., to Jerry Bock, Larry Holofcener, and ultimately to George David Weiss as well. Two songs from that score became standards, "Mr. Wonderful," and "Too Close for Comfort."
Two years later, the fruitful team of Bock and Sheldon Harnick was born, yielding eventually, five Broadway show scores in seven years, which stands as a record. The shows included The Body Beautiful, Fiorello (winner of Broadway's triple crown: The Antoinette Perry (Tony) Award, The New York Drama Critics Circle Award and The Pulitzer Prize in Drama); Tenderloin, She Loves Me, The Apple Tree, The Rothschilds, and Fiddler on the Roof, honored then as winner of the New York Drama Critics Circle Award, The Page One Award of the American Newspaper Guild, and nine Tony Awards, including "Best Musical."
Jerry Bock also contributed one song per weekly broadcast of Sing Something Special, a New York City Board of Education program on WNYE, which culminated in a special children's album for Golden Records. Jerry Bock is also an esteemed Inductee into the Theater Hall of Fame.
Lyrics
(Source: Songwriter Hall of Fame)
Born and raised in Chicago, Sheldon Harnick began studying the violin while in grammar school. After serving in the U.S. Army for three years, he enrolled in the Northwestern University School of Music, and earned a Bachelor of Music degree in 1949. Though his focus had been the violin, Harnick also developed skills as a writer of comedy sketches, songs and parody lyrics, and eventually decided to try his luck as a theatrical lyricist in New York City.
His first song in a Broadway show, "The Boston Beguine" for New Faces of 1952, introduced theatergoers to the wry, subtle humor and deft wordplay indicative of a Harnick lyric. Over the next several years he contributed lyrics or whole songs to such vintage revues as John Murray Anderson's Almanac, The Shoestring Revue and The Littlest Revue.
A few more years were spent working on other writers' trouble-plagued Broadway-bound musicals before Harnick joined up with composer Jerry Bock to write their own musicals. While the first Bock & Harnick musical, The Body Beautiful in 1958 showed promise, it was their second musical, Fiorello! in 1959, that put the team on the map. Their musical biography of New York City's legendary mayor earned the Tony Award, Pulitzer Prize and New York Drama Critics' Circle Award.
Their next musical, Tenderloin (1960), set in the seamy Tenderloin district of late 19th century New York, was followed by She Loves Me (1963), which beguiled audiences with its Central European charm and operetta elegance.
In 1964 Bock & Harnick, working with director-choreographer Jerome Robbins and book writer Joseph Stein, created a musical masterpiece that vividly evoked a vanished community while telling a story with universal and timeless appeal. Fiddler on the Roof, based on a series of short stories by Jewish folklorist Sholom Alecheim, earned the Tony Award, New York Drama Critics' Circle Award, a gold record (for both its Broadway cast album and film soundtrack recordings) and a platinum record (for the Broadway album).
In 1971, with the Broadway production still running, United Artists released the film version starring Topol. The following year the stage production became the longest-running show in Broadway history, a record it held until 1979.
After Fiddler, the Bock & Harnick collaboration went on to include such versatile fare as The Apple Tree (1966), which was comprised of three one-act musicals. This was followed by The Rothschilds in 1970, an epic telling of the founding of the Rothschild banking dynasty.
Harnick's other collaborators in musical theatre have included: Michel Legrand, for whom Harnick translated The Umbrellas of Cherbourg in 1979 before working together on a musical of A Christmas Carol in 1981; Mary Rodgers, with whom Harnick wrote a version of Pinnochio in 1973 for the famed Bil Baird Marionettes, and a song, "William's Doll," for Marlo Thomas' Free to Be...You and Me in 1974; Richard Rodgers, joining forces for the score to Rex in 1976, a Broadway musical about Henry VIII; and Joe Raposo, where their joint credits included Sutter's Gold (1980), a cantata premiered by the Boston Symphony Orchestra, and A Wonderful Life (1986), a musical based on Frank Capra's holiday classic. A solo work, Dragons in 1984, was based on a Russian play and given its premiere at Harnick's alma mater, Northwestern University. NSU theatre professor, Daniel Yurgaitis, directed a production of Dragons at the University of Arizona.
Harnick has provided English-language librettos for classical operas and oratorios, including works by Stravinsky, Ravel, Mozart, Bach and Verdi. His version of Lehar's The Merry Widow (1977) was premiered by the San Diego Opera Company starring Beverly Sills (a subsequent album won the 1979 Grammy Award for best new opera recording). His translation of Georges Bizet's Carmen was commissioned and premiered by the Houston Grand Opera in 1981 and served as the English text for Peter Brooks' acclaimed La Tragedie De Carmen in 1984.
His translation of several Yiddish songs were featured in the Los Angeles and New York productions of Joshua Sobol's play Ghetto in 1986 and he collaborated on the English libretto for the Broadway production of the Dutch musical Cyrano in 1993.
His original opera librettos include Captain Jinks of the Horse Marines (1975), music by Jack Beeson; Love in Two Countries (1991), music by Thomas A. Shepard; and The Phantom Tollbooth (1995), music by Arnold Black and based on Norton Juster's popular children's book.
His work for television and film ranges from songs for the HBO animated film, The Tale of Peter Rabbit (1991) with music by Stephen Lawrence, to lyrics for the opening number of the 1988 Academy Awards telecast. He wrote the theme songs for two films, both with music by Cy Coleman: The Heartbreak Kid (1972) and Blame it On Rio (1984).
Sheldon Harnick is a member of The Dramatists Guild and the Songwriters Guild of America. In addition to his Tonys, Pulitzer and Grammys, his many other honors include: The Johnny Mercer Award presented by the Songwriters Hall of Fame, the Marc Blizstein Memorial Award for achievement in the creation of opera librettos, presented by the American Academy and Institute of Arts and Letters, and Honorary Doctorates of Humane Letters awarded by Illinois Wesleyan University, and Muskingum College.
(1859 - 1916)
original stories
Sholom Aleichem is the pen name of Solomon Rabinowitz (Sholom, also spelled "Shalom" and "Sholem," is the traditional Hebrew and Yiddish greeting meaning "peace be with you"). He was a Yiddish short-story writer, dramatist, and humorist and is recognized as the best Jewish writer to live in Russia and write in Yiddish. He is
famous for his sad and ironical novels and short stories that describe the life of simple Russian Jews living in small towns.
He was born in Pereyaslav (now Pereyaslav-Khmel'nitsky), near Kiev, Ukraine and worked as a teacher and rabbi. In 1905 he fled the Jewish persecutions in Russia and settled in New York City in 1914.
His most important works include Stempenyu (translated in to English in 1913), "Inside Kasrilovka" (1938), "The Old Country" (1946), "Tevye's Daughters" (1949), and "Adventures of Mottel, The Cantor's Son" (1953). His most famous characters are Menachem Mendel, the typical small-town Jew, the eternal dreamer and schemer and Tobias (Tevye) the Dairyman, an indestructible optimist. Fiddler on the Roof (1964) is based on Sholom Aleichem's stories about Tevye.
(Main Source: The Making of a Musical by Richard Altman with Mervyn Kaufman, Crown Publishers, Inc., New York, 1971)
The authors of the musical that would become Fiddler on the Roof met for the first time to discuss it in March of 1961. The three had a great experience working on Mr. Wonderful and looked for another project. All were fans of Sholom Aleichem's stories, especially the ones that featured a dairyman called Tevye. They would rough out a storyline (that was remarkably close to what ended up onstage) and composed about 20 songs. When they showed it to producer Harold Prince, he was concerned it was too ethnic and suggested they get Jerome Robbins to direct it feeling that he could give it the universality it would need to succeed with the general public. So Bock and Harnick went to work on She Loves Me for Prince and Stein would write Enter Laughing. After these projects opened, the trio began to search in earnest for a producer. Finally Fred Coe (who had the successful A Thousand Clowns under his belt) agreed to produce if Harold Prince would co-produce. This arrangement would quickly fall apart (with Coe busy in Hollywood with the film of Clowns) and Prince would take over as sole producer.
Key members of the team that would visualize Fiddler on the Roof were also assembled and they would have many meetings with Jerome Robbins. Boris Aronson (whose design was inspired by the paintings of Russian artist Marc Chagall) would create the scenery, Patricia Zipprodt would clothe the actors, and Jean Rosenthal would light them.
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Casting was a meticulous process. Zero Mostel was everybody's choice for Tevye (although actors as varied as Danny Kaye, Howard Da Silva, Tom Bosley, Alan King and Danny Thomas were considered), but finding the right actors for the other roles was a long drawn out process (ten months) and rehearsal would begin in June of 1964 for an eight week period. Robbins was fascinated by the circle and what that symbol could convey through the storytelling. But he was also nervous about a show that didn't carry the amount of dynamic dance that had fueled his West Side Story. Prince pushed Robbins to start choreographing and Robbins finally started during the eighth week of the eight week rehearsal period! Prince recalled "The fact of the matter is that he was gun-shy of the dancing, and he was gun-shy for the best reasons. He didn't want 'dance pieces' in the show. The dancing had to grow out of parties or other totally naturalistic situations. He wanted no musical comedy dancing per se, which is why he was wary of it, and he was right."
"What's this show about?" became Robbins' probing question to the authors, who kept coming up with answers that didn't stimulate the director. Harnick recalled "I don't know who made the discovery that the show was really about the disintegration of a whole way of life, but I do remember that it was a surprise to us all. And once we found that out…Robbins said, 'well, if it's a show about tradition and its dissolution, then the audience should be told what tradition is.'…so we wrote "Tradition" because he insisted on it." When staging the opening number Harnick remembers "I suddenly realized I was watching a man literally mold a number out of pieces. Joe Stein would give him some dialogue- I guess I had written the lyrics already- but I think Jerry Bock had to keep supplying him with music, and it took shape like a piece of sculpture."
Robbins was a legendary taskmaster and had long and strenuous rehearsals as the show came together. A new Actors Equity rule went into effect after rehearsals had started, stipulating that all actors were to receive one day off a week (it was too late to affect the Fiddler cast). It never occurred to Robbins to give actors time off- and he worked them as hard as he worked himself.
Fiddler on the Roof had its first out-of-town performances in Detroit, coinciding with a newspaper strike. The first review appeared a week later in Variety, calling the show "mildly amusing, moderately melodic and completely predictable" adding that "none of the songs are memorable…" Cuts were made, including a large part of the "Chava Ballet" and a large up tempo dance number called "Anatevka."
Added to the show was a second act ballad for the characters of Tevye and Golde, "Do You Love Me?" Harnick recalls, "I had this funny notion, I thought it would be great if [Tevye] said , "Do you love me?" and [Golde] said "What?" And when we got into trouble in the second act, I decide to try and turn this notion into a song. That lyric took me longer than any of the others… I worked on it constantly for five or six days, just going for long walks and feeling very happy if I could do two lines in an afternoon. And I couldn't find a form for it. I gave it to Jerry almost as a dialogue scene, thinking that he'd ask for revisions to fit his own musical scheme. But Jerry found a form for it, and kept it just the way I wrote it. Since it started as a joke, I kept looking for a joke to end it with, but I couldn't find one. So I thought I'd end it on a note that was just honest and sweet, 'After twenty-five years/It's nice to know," not knowing that that was going to be the joke." Robbins took fifteen minutes to stage the song and it went into the show that evening and the audience loved it.
On the plane from Detroit to Washington (the next out-of-town stop), the actor playing Perchik (Bert Convy) was unhappy with his character's second act song, "As Much As That." He expressed to the authors that he could do much better with another character's act one number, "Now I Have Everything." It was working well for Austin Pendleton (the actor playing Motel the Tailor) but he wasn't the singer that Convy was. Three days later, Bock and Harnick walked into rehearsal with a new song for Motel, "Miracle of Miracles." Washington also saw a more meaningful version of "Anatevka" added. The last addition was "The Rumor," that performed an important function- it allowed a scene to be set up while it was being performed downstage. The responses from the Washington critics for the new improved Fiddler were much more encouraging.
Program from the original Broadway production
The original Broadway production of the show, which opened on September 1964, was the first musical to surpass the 3,000 performance mark, and it held the record for longest-running Broadway musical for almost 10 years until Grease surpassed its run. The production earned $1,574 for every dollar invested in it.
1964
- Best Musical
- Best Composer and Lyricist
- Best Actor in a Musical (Zero Mostel)
- Best Featured Actress in a Musical (Maria Karnilova)
- Best Costume Design
- Best Choreography
- Best Direction of a Musical
- Best Producer of a Musical
- Best Author (Musical)
1972
- Special Award (for becoming the longest running musical in Broadway history)
1991
- Best Revival
"One of the great works of American musical theatre. It is darling, touching, beautiful, warm, funny and inspiring. It is a work of art." - Daily News
"Filled with laughter and tenderness. It catches the essence of a moment in history with sentiment and radiance. An exceptional accomplishment." - The New York Times
"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... after 17 years, Fiddler still has magic." - 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
There are a number of study guides available for classroom use. These are excellent tools to use both before and after viewing the play. The following links will take the reader to the Utah Shakespeare's study guide and to one prepared by Joseph Stein himself.
http://www.bard.org/Plays/fiddler.html
http://www.bookrags.com/studyguide-fiddlerroof/
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Fiddler on the Roof Book and Lyrics Paperback: 154 pages Publisher: Limelight Editions (August 1, 2004) Language: English ISBN-10: 0879101369 ISBN-13: 978-0879101367 |
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Fiddler on the Roof Original Cast Album, 1964 Audio CD (June 3, 2003) Number of Discs: 1 Format: Original recording remastered Label: RCA Victor Broadway ASIN: B000099SZ2 |
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Fiddler on the Roof Original Cast Album, 1964 Audio CD (October 9, 2001) Number of Discs: 1 Format: Extra tracks, Original recording remastered, Soundtrack Label: EMI ASIN: B00005OB07 |
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Fiddler on the Roof Film adaption, 1971 Director: Norman Jewison Actors: Topol, Norma Crane, Leonard Frey, Molly Picon Format: AC-3, Collector's Edition, Color, Dolby Widescreen, NTSC Language: English, Hebrew Subtitles: English, Spanish Aspect Ratio: 2.35:1 Number of discs: 2 Rating: G Studio: MGM (Video & DVD) Run Time: 181 minutes |
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Fiddler on the Roof 2005 Revival Cast Album Audio CD (June 8, 2004) Number of Discs: 1 Format: Cast Recording Label: P.S. Classics ASIN: B00023GFYK |