26-27 Proposal: Fiddler on the Roof

Fiddler on the Roof

Book by Joseph Stein, lyrics by Sheldon Harnick, music by Jerry Bock

Directed by Riley Lucas

Music Direction by Rob Birdwell

Show Synopsis

From MTI:

“Winner of nine Tony Awards when it debuted in 1964, Fiddler on the Roof is the brainchild of Broadway legends, Jerome Robbins and Harold Prince; songwriters, Jerry Bock and Sheldon Harnick; and book writer Joseph Stein. Touching audiences worldwide with its humor, warmth, and honesty, this universal show is a staple of the musical theatre canon.

Set in the little village of Anatevka, the story centers on Tevye, a poor milkman, and his five daughters. With the help of a colorful and tight-knit Jewish community, Tevye tries to protect his daughters and instill them with traditional values in the face of changing social mores and the growing anti-Semitism of Czarist Russia. Rich in historical and ethnic detail, Fiddler on the Roof's universal theme of tradition cuts across barriers of race, class, nationality, and religion, leaving audiences crying tears of laughter, joy, and sadness.

The show features a star turn in Tevye, among the most memorable roles in musical theatre. MTI's comprehensive choreographic guide allows productions to retain original director/choreographer Jerome Robbins' classic staging. With iconic and beloved songs such as "Sunrise, Sunset," "If I Were a Rich Man," and "Matchmaker, Matchmaker," Fiddler on the Roof is the perfect mix of audience-pleasing humor and heart.”

Vision Statement

Why "Fiddler" now? At its core, Fiddler on the Roof is about a conservative father wrestling with the changing world. Tevye grapples with his daughters, free-spirits who fight against tradition in the name of love, and the threat of and eventual action of unlawful displacement from his rural shtetl of Anatevka. His village of innocent people is forced to flee their homes under the threat of violence. In 1905, it was the pogroms of the Russian Empire, a horrific era that my family was personally involved in. In 2025 America, it is the unlawful deportations, the erosion of asylum rights, and the increasing normalization of xenophobia, hatred, and propaganda. Fiddler reminds us that the threat of expulsion and scapegoating is not new. This is not just a Jewish story, this is an American story. 

Tevye’s eldest three daughters, Tzeitel, Hodel, and Chava, are romantic heroines AND revolutionaries. Each daughter forces Tevye to stretch his worldview and evolve. Young women are leading the way forward, and the elders listen, wrestle, and change. This show is a family drama, a celebration of culture, and an important warning of what happens when fascism rears its ugly head against the different, the innocent. The villagers of Anatevka are targeted not for what they do, but for who they are. Fascism starts with language -- “they don’t belong” – and ends with exile or worse. It is no accident that Tevye’s quiet world is undone by an unnamed authoritarian force. This has happened over and over again. By staging Fiddler now, I want to take a stand against silence, against complicity, and for the dignity of every displaced person.

My Aesthetic Approach: The original Broadway production leaned into the avant-garde, brightly colored surrealism of Marc Chagall, whose folkloric, whimsical paintings mirrored the magical realism of shtetl life. I love the painterly style of the original Broadway production, and so I want to lean aesthetically into the style of Vincent Van Gogh. Think rolling wheat fields, pinprick stars in swirling skies, sunflowers, and meticulous brush strokes in the set and costumes. Van Gogh created incredible beauty out of his personal sorrow. I love cultivating an aesthetic for the mise-en-scène for my productions, and having cultural touchpoints that audiences can identify and connect to allows them to invest in the story more.

What I’m looking for: I am looking for a cast of racially diverse, gender diverse, and mobility diverse enthusiastic storytellers to help mount this production. Diversity, accessibility, and acceptance are the key pillars of my approach. I believe actors should come as they are, as every person has something they can show. This show lends itself well to a diverse age group – a great opportunity for family members to be cast together. There are a handful of roles for children, both named and in the ensemble. I would be particularly interested in seeking actors who have a mobility disability, Down’s syndrome, or a comparable intellectual or physical disability to play a part in this production, particularly in the role of either Shprintze or Bielke, Tevye’s youngest daughters. It's important now, more than ever, to include our most vulnerable communities in works of art and theatre.

This show has the benefit of nostalgia. People are interested in seeing new interpretations of their old favorites. I think the cultural relevance of this show will also draw an audience in. I think people are looking for theatre that has a message, and I would love the chance to spread this message to our community.