Fiddler on the Roof

The overwhelming success of Fiddler on the Roof was the universal theme of the story that all of us can relate to: Family - good or otherwise, we all have one.  Tradition - and its resistance to change. Conflict between parents and what they think is best for their children and what the children feel they need.  The unknown of leaving home - whether by choice or force. The anguish of loss.  And our personal relationship with our God.

Transcript

SPEAKER_01 0:26

You're listening to Acoustic Avenue. This is Ted Crouch, your host in Salmon Arm, British Columbia, with co-producer Joe Little in Calgary, Alberta. On Acoustic Avenue, we recognize with respect and gratitude that these lands where we live, work, and make our music remain home to a number of indigenous nations and people. We acknowledge this land out of respect for the indigenous nations who have cared for Turtle Island, also called North America, from before the arrival of settler peoples until this day. In the early 1960s, composer Jerry Bach, lyricist Sheldon Harnock, and writer Joseph Stein came up with an idea for a Broadway musical. The storyline was based on a series of short stories by beloved Yiddish author Sholem Alakem called Tabier and his daughters. The title and underlying theme they based on a painting by French artist Marc Chagall entitled The Green Fiddler. The musical debuted in 1964, and at the time, pundits and critics said it would have a short run, that it would not be a success because it would not appeal to a general audience. They could not have been more wrong. It ran for over 3,000 performances, the first Broadway show to achieve that mark. It has been performed in more than 80 countries and translated into dozens of languages. And in 1971 was turned into a film directed by Canadian Norman Jewison that has been called the most significant movie musical ever made. The reason for its overwhelming success was the universal theme of the story that all of us can relate to. Family. Good or otherwise, we all have one. Tradition and its resistance to change. Conflict between parents and what they think is best for their children and what the children feel they need. The unknown of leaving home, whether by choice or force, the anguish of lost, and our personal relationship with our God. Today, we're going to present the music from the movie soundtrack that includes the opening prelude and song, a cadenza, which is a virtuoso solo passage, that features the world's greatest violinist of the era, Isaac Stern, in the role of the Fiddler on the Roof. Here is Topo with the cast and Isaac Stern with tradition.

SPEAKER_03 3:33

Sounds crazy, you know. But here in our little village of an adem, you might say every one of us is a fiddler on the roof trying to scratch out a pleasant, simple tune without breaking his neck. It isn't easy. You may ask, why do we stay up there if it's so dangerous? We stay because Anatevka is our home. And how do we keep our balance? That I can tell you in one word, tradition. We've kept our balance for many, many years. Here in Anatevka, we have traditions for everything. How to sleep, how to eat, how to work, how to wear clothes. For instance, we always keep our heads covered and always wear a little prayer short. This shows our constant devotion to God. You may ask, how did this tradition get started? I'll tell you. I don't know. But it's a tradition. And because of our traditions, every one of us knows who he is and what God expects him to do.

SPEAKER_09 6:10

Both day and night must scramble for a living feeder by the children, say it they request who has the right as master of the house to have the final word at home. I fear they pick a pride for me. I hope she's pretty.

SPEAKER_03 8:12

And most important of all, our beloved Rabbi.

SPEAKER_13 8:16

Rabbi, may I ask you a question? Certainly, Leibish. Is there a proper blessing for the Tsar? A blessing for the Tsar? May God bless and keep the Tsar far away from us.

SPEAKER_03 9:15

They make a much bigger circle. His honor constable, his honor the priest, his honor many, many others. We don't bother them in so far they don't bother us. And among ourselves, we always get along perfectly well. Of course, there was the time when Itzik sold Avram the horse and told him it was only six years old when it was really twelve. But now it's all over, and everything is peaceful again. It was twelve years old.

SPEAKER_13 10:00

It was six.

SPEAKER_03 10:36

Without our traditions, our lives would be as shaky as as a fiddler on the roof.

SPEAKER_01 14:24

The set begins with matchmakery, a charming and iconic song from Tavier's daughters, Zetel, Hodel, and Shaba, as they playfully lament the challenges of finding suitable husbands in their traditional Jewish community. We follow that with If I Were a Rich Man, a song that stands as memorable, enduring, and encapsulating the charm and depth of Fiddler on the Roof. It remains a beloved classic that continues to enchant and move audiences with its timeless qualities. To end this said, Sabbath of prayer provides a poignant and emotionally resonant moment sung by David and his family as they gather to light under the Sabbath of candles. The song's melody is simple yet extraordinarily beautiful, as it evokes a sense of tranquility and spirituality, providing a serene backdrop to the family's moment of prayer and reflection. Here is a matchmaker. If I were a rich man and a Sabbath prayer.

SPEAKER_04 15:32

Oh, Yenuta, Yuta. Well, somebody has to arrange the matches. Young people can't decide these things for themselves. She might bring someone wonderful, someone interesting and well off and important. Matchmaker, matchmaker, make me a match. Find me a find. Catch me a catch. Matchmaker, matchmaker, look through your book and make me a perfect match. Matchmaker, matchmaker, I'll bring the veil. You bring the groove, slender and pale. Bring me a ring, for I'm longing to be the envy of all using. A poor boy, make him a scholar, or mama, make him rich as a king. Me, well, I wouldn't tolerate he were as hassle as any thing. Matchmaker, matchmaker, make me a match. Find me a fine, catch me a catch. Night after night in the dark, I'm alone. So find me a match of my love. Since when are you interested in a match, Hava? I thought you just had your eye on your books. And you have your eye on the rabbi's son. Well, why not? We only have one rabbi, and he only has one son. Why shouldn't I want the best? Because you're a girl from a poor family.

SPEAKER_15 17:13

So whatever Yento brings, you'll take, right? Of course, right. Huddle! Oh Huddle! Have I made a match for you? He's handsome. He's young. All right, he's 62, but he's a nice man, a good catch, true. True. I promise you'll be happy. And even if you're not, there's more to life than that. Don't ask me what. You'll be a lucky bride. He's handsome. He's tall. That is from side to side. But he's a nice man. A good catch, right? Right. You heard he has a temper. He'll beat you every night, but only when he's sober. So you're all right. Did you think you'd get a prince? Well, I'll find the best I can. With no dowry, no money, no family, my room.

SPEAKER_04 18:11

Be glad you got a man. Matchmaker, matchmaker, you know that I'm still very young. Please take your time. Up to this minute I misunderstood that I could get stuck for good. Yan do see that he's gentle in bell. You were also obliged. It's not that I'm sentimental. It's just that I'm terrified. Matchmaker, matchmaker, plan me no plans. I'm in no rush. Maybe I learned. Playing with matches a girl can get burned. So bring me no fish. Find me no fine. Unless he's a man.

SPEAKER_03 19:23

You made many, many poor people. I realize, of course, it's no shame to be poor.

SPEAKER_02 19:32

But it's no great honor either. So what would it have been so terrible? If I had a smooth fortune.

SPEAKER_03 19:46

If I were a rich man, yab it idibbed ibbi dum All day long I benefit dum. If I were a wealthy man, I would have to wear hard. If I were a benefit a rich, idle, little, idle, idle man, I'd build a big tall house with a roof spite a dozen, right in the middle of the town. A fine tin roof with a real wooden floors below. There would be one long staircase just going up, and one even longer coming down, and one more leading nowhere just for show. I'd fill my yard with chicks and turkeys and geese and ducks for the town to see and hear, squawking just as noisily as they can. And it slops again Willant like a trumpet on the ear as if to say here lives a wealthy man If I were a rich man, yabbe dibb it ibbid ibbid ibbid dummy long I bit a bit dum If I were a wealthy man, I wouldn't ever Yabbe dipp it in it, dipp it, dipp it, dium If I were a bit a bit a rich idle, idle, idle man I see my wife, my boat looking like a rich man's wife. With a proper double chin. Supervising appeals to her heart still like I see her putting on airs and strutting like a peacock. Oh, what a happy mooch is in. Screaming at the servants at night. The most important man in town will come to fawn on me. They will ask me to advise them like a solemn of the wise. If you please, Rabatavia, pardon me, Rabatavia.

SPEAKER_21 22:47

Posing problems that would cross her rabbis eyes. He had a dead, he had a dead, he had a dead And it won't make one bit of difference if I answer right or wrong.

SPEAKER_03 23:11

When you're rich, I think you really know I were rich. I'd have the time that I like to sit in the synagogue and pray, and maybe have a seat by the eastern wall. And I discuss the holy books with a learned man seven hours every day. And that would be the sweetest thing of all If I were a rich man, yab it, oh hello a bit bum If I were a wealthy man, I you wouldn't have to work hard. You decreed I show me what I am. Would it spoil some vast eternal plan? I were a well.

SPEAKER_10 29:09

Oh to life, to life, to title my daughter, my wife! It gives you something to think about. Something to drink about. Yes, what is it, Lisabo? And Modre! Drinks for everybody! What's the big occasion? I am taking myself a pride! Who's the lucky one? Heavier's eldest! Title! Your daughter, my wife!

SPEAKER_09 29:50

May all your futures be pleasant ones, not like the present ones! Bring the time to life! To life, the time! The time, the time, to life! It takes a wedding to make the same. Let's live another day. Bring the time to life, we raise a glass and six the drop of stance in honor of the great good luck that favored you. We know the brain good fortune favors too. Such medical reason we deserve it too. To us and our good fortune. Be happy, be healthy, all night. And if our good fortune never comes, it's to whatever comes.

SPEAKER_07 31:45

Hey, may you want to pay that with the future of your choice? May you live to see a thousand reasons to rejoice? Saba shustar okay, the fishing book has broken.

SPEAKER_18 34:38

Wonder of wonders, miracle of miracles, God took a Daniel once again, stood by his side, and miracle of miracles walked him through the lion's den. Wonder of wonders, miracle of miracles. I was afraid that God would frown, but like he did so long ago in Jericho, God just made a wall fall down. When Moses softened Pharaoh's heart, that was a miracle. When God made the waters of the Red Sea part, that was a miracle too. But of all God's miracles, large and small, the most miraculous one of all is that out of a worthless lump of clay, God has made a man today. Wonder of wonders, miracle of miracles, God took the tailor by the hand, turned him around, and miracle of miracles led him to the promised land when David slew Goliath. Yes, that was a miracle when God gave us manner in the wilderness. That was a miracle too. But of all God's miracles, large and small, the most miraculous one of all is the one I thought could never be.

SPEAKER_19 36:20

God has given you this little girl I can.

SPEAKER_03 38:45

How can I help to ease their ways?

SPEAKER_20 38:52

Now they must learn from one another.

SPEAKER_01 44:12

This is the final set for today's special on Acoustic Avenue, Fiddler on the Roof. Although the theme for this story and accompanying music took place in 1905, you can easily compare the themes of family, faith, and rebellion with more contemporary films. As Tavier told us, we are all fiddlers on the roof, fighting to maintain balance in a tumultuous and unpredictable world. And so we must always seek to treat ourselves and our neighbors with the love and care of the citizens of Anatevka, and make that our tradition. To take us home from Fiddler on the Roof, we will leave you with Do you love me? Far from the home I love. The Shabba Ballet sequence and we end today's show with Anatevka.

SPEAKER_03 45:13

Do you love me?

SPEAKER_17 45:16

Do I what?

SPEAKER_03 45:18

Do you love me?

SPEAKER_17 45:21

Do I love you? Well with our daughters getting married and this trouble in the town. You're upset, you're worn out. Go inside, go lie down. Maybe it's indigestion.

SPEAKER_03 45:35

Oh no, Golda, I'm asking you a question. Do you love me?

SPEAKER_17 45:42

You're a fool.

SPEAKER_03 45:43

I know. But do you love me?

SPEAKER_17 45:48

Do I love you? For twenty five years I've washed your clothes, cooked your meals, cleaned your house, given you children, milked your cow. After twenty-five years, why talk about love right now?

SPEAKER_03 46:05

Goldenhead, the first time I met you was on our wedding day. I was scared. I was shy. I was nervous. So was I But my father and my mother said we'd learn to love each other. And now I'm asking Goldenhead. Do you love me?

SPEAKER_17 46:27

I'm your wife.

SPEAKER_03 46:29

I know. But do you love me?

SPEAKER_17 46:34

Do I love him? Well for twenty-five years I've lived with him, fought with him, starved with him. Twenty-five years my bed is his if that's not love, what is you love me? I suppose I do.

SPEAKER_02 47:09

It doesn't change a thing, but even so after twenty-five years to he asks you to leave your father and mother and join him in that frozen wasteland and marry him there?

SPEAKER_04 47:57

No, Papa. He did not ask me to go. I want to go. Papa, how can I hope to make you understand why I do what I do? Why I must travel to a distant land, far from the home I love. Once I would happily content to be as I was where I was, close to the people who are close to me here in the home I love. Who could see that a man would come who would change the shape of my dreams? Helpless now I stand with him watching all the dreams froted. Oh what a melancholy choice this is wanting home, wanting him, closing my heart to every home, but his leaving the home I love there where my heart is settled long ago I must go, I must go. Who could imagine I'd be wandering so far from the home I love yet there with my love.

SPEAKER_03 50:22

When we will leave it in his hands. Everybody's favorite child, gentle kind of affectionate. What a sweet little bird you were humbling.

SPEAKER_12 53:23

Wouldn't now be a good time for him to come.

SPEAKER_11 53:27

We'll have to wait for him someplace else. Meanwhile, let's start packing.

SPEAKER_00 53:37

Well, Anatefka hasn't been exactly the Garden of Eden.

SPEAKER_17 53:42

That's true. After all, what have we got here? A little bit of this. A little bit of that.

SPEAKER_03 53:52

A pot. A pan.

SPEAKER_00 53:55

A broom. A hat.

SPEAKER_03 53:58

Someone should have sent a match to this place. Years ago. A bench. A tree. What's a house?

SPEAKER_17 54:07

Or a stove?

SPEAKER_14 54:09

People who pass through Anatefka don't even know they've been here.

SPEAKER_10 54:14

A stick of wood? A piece of cloth. What do we leave?

SPEAKER_03 54:21

Nothing much. Holy Anatefka.

SPEAKER_17 56:18

It's just a place.

SPEAKER_14 56:20

Our forefathers have been forced out of many, many places at a moment's notice.

SPEAKER_03 56:27

Maybe that's why we always wear our hands.

SPEAKER_01 57:02

Until next week, this is Ted Crouch signing off. And on behalf of Joe Little, from our hearts to yours, stay safe and love the ones you're with. Peace. Cook's job.