Word: fiddlers
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...expand the traditional musical comedy format or our understanding of a bizarre historical figure. Evita is often spectacular in its pretensions, but it is not even the best musical to touch on the subject of political repression. That honor belongs to two of Prince's Broadway productions-Fiddler on the Roof and Cabaret...
...Maine, 700 people last week stood in a semicircle atop 1,532-ft. Cadillac Mountain, which is the first place in the continental U.S. to be struck each morning by the rays of the rising sun. They stamped their feet and clapped their hands to the music of a fiddler and two accordionists to keep warm in the predawn, 35° F. chill. Then, at approximately 5:15 a.m., they intoned, "Wah taho, wah taho, wah taho" (arise, arise, arise), a Zuni Indian incantation. The sky lightened a bit in the east, but the sun stayed hidden behind a thick...
...talented cast members re-positioned themselves on the stage for the next number. Speaking of numbers, there were 30 numbers lifted in the program, a very few of which were left out. They came from shows like A Chorus Line, Godspell, Pippin, Finian's Rainbow, and Fiddler on the Roof. The music was good: Broadway showtunes that would have made Lawrence Welk. The dancing was good; a guy did a somersault and knocked over the only flat on the stage. The singing was good; the show's high point definitely came when the cast, clad as a group of marauding...
F.I.S.T. can only be appreciated, perhaps, as a series of images--maybe it would only be necessary to turn off the sound to make this Norman (Fiddler on the Roof, Rollerball) Jewison production a good movie. Stallone shares writing discredit for the movie with Joe Eszterhas, who, I am told, should have known better. The script is an encumbrance which even the most vivid images of strike-breaking riots, negotiating sessions and Senate hearings cannot rise above. When we are forced to listen to Stallone for any extended period of time, we are reminded of how Adrian must have felt...
...that the audience be able to recognize people whose religion is not a nationality, but whose nationality was a place of birth," says Green. "I wanted a real German family, the equivalent of American Jews who think of themselves first as Americans. We didn't want to do Fiddler on the Roof Jews, although they were prime victims of the Holocaust. We were afraid they would vitiate what we were trying to do-appeal to a broad audience." Though the Weisses are products of Green's imagination, the historical framework of Holocaust is, of course, not. The show...