Fiddler on the Roof is certainly a musical and story that surpasses the short life expectancy that stories and tales may have. Whether, through history, they’re passed down and lost, or they just do not seem to resonate with the audience in a particularly effective way, stories can grow old and lose freshness, a testimony to the need for a flow of creative output that evolves in contemporary relevance. Fiddler on the Roof, however, acts as a continuous vehicle, as most successful Broadway performances do, to bring “old” themes into modern relevance time and time again.
Fiddler on the Roof brings the themes of tradition, custom, and family close to audiences to feel and experience, which seems to be an ever-growing need amid a current society that seems to support higher individualization and less of an involvement of other people in personal endeavors. By viewing a work and performance like Fiddler, the deep chords of harmony and communal tradition that we are so inherently attached to are struck and resonate powerfully within us. It is no wonder that the most successful art, in our eyes, is the art that makes us feel the most connected to other people, while also inspiring us to go make a change.
Much can be done, not only for ourselves, but also for others. Something to consider while viewing this musical is that people, like Tevye and his family, are being discriminated against today. Not only are these people being discriminated against based on religion or ethnicity, but their homes are being taken from them and they are forced to flee—the refugee crisis in the Middle East and Europe is enough evidence of that. The growing importance of people helping one another and providing service and care is crucial, especially to us as Catholics. While tradition and custom should be kept and sustained, as Tevye and most people would argue, there is a risk of losing it, and the duty falls on us, much like the poor milkman, to continue that forward. I hope that after you view Guerin Catholic’s performance of Fiddler on the Roof you will be reminded of the great importance family tradition and custom has, and, in turn, I hope this will inspire you to preserve, care for, and cultivate traditions within your own family.
Enjoy the show,
FIDDLER ON THE ROOF SUMMARY
Tevye is a poor milkman who lives in the village of Anatevka, located in the western region of Imperial Russia. The year is 1905 and Jews are highly discriminated against within Russia. The Pale Settlement, the name for the designated living space for Jews in Imperial Russia, acts as a haven for Jewish families, which includes Tevye, his wife, Golde, and their five daughters. Within the village of Anatevka, a tight-knit Jewish community exists—a community that Tevye tries to bring closer to his daughters by instilling cultural values and traditions in them. As anti-Semitism and changing social values emerge within the country and the village, Tevye finds this duty increasingly important as his three older daughters fall in love with suitors Tevye finds stray too much from the customs of his faith, while the Tsar of Russia simultaneously works to evict the Jews in the Pale Settlement from their villages.
1. PROLOGUE - The exterior of Tevye's House (TRADITION)
2. SCENE 1 - Tevye's Kitchen (MATCHMAKE, MATCHMAKER)
3. SCENE 2 - Outside of Tevye's House (IF I WERE A RICH MAN)
4. SCENE 3 - Inside Tevye's House (SABBATH PRAYER)
5. SCENE 4 - The Inn (TO LIFE)
6. SCENE 5 - The Inn, later
7. SCENE 6 - Outside Tevye's House (TRADITION Reprisal, MIRACLE OF MIRACLES)
8. SCENE 7 - Tevy'e Bedroom (TEVYE'S DREAM)
9. SCENE 8 - The Village Street, Motel's Tailor Shop
10. SCENE 9 - Outside Tevye's House (SUNRISE, SUNSET)
11. SCENE 10 -Outside Tevye's House
1. PROLOGUE -Outside Tevye's House
2. SCENE 1 - Outside Tevye's House (NOW I HAVE EVERYTHING, TRADITION reprise, DO YOU LOVE ME?)
3. SCENE 2 - The Village Street (THE RUMOR)
4. SCENE 3 - Outside Railroad Station (FAR FROM THE HOME I LOVE)
5. SCENE 4 - The Village Street
6. SCENE 5 - Motel's Tailor Shop
7. SCENE 6 - A Road (CHAVA'S SEQUENCE)
8. SCENE 7 - Tevye's Barn (ANATEVKA)
9. SCENE 8 - Outside Tevye's House
TEVYE: a hard-working father of five daughters who has a jovial, optimistic approach to life, which bleeds into his profession as a dairyman. His focus on family tradition and his supportive nature are impeccable.
GOLDE: Tevye’s strict but affectionate wife of twenty-five years who desires nothing more than the success of her daughters in finding worthy husbands who can support them, as she wishes that her daughters have better lives than she and Tevye had.
TZEITEL: the eldest daughter who has fallen in love with Motel the Tailor. While loyal to her family, she often questions the village’s traditions.
HODEL: the second-eldest daughter, Hodel is intelligent and opinionated, falling for Perchik whom she later marries.
CHAVA: the middle daughter of the family, Chava falls in love with Fyedka, a Russian soldier and Christian. Despite knowing her family will disown her for marrying a Christian, Chava runs away with him.
SHPRINTZE: Tevye’s second-youngest daughter.
BIELKE: the youngest daughter of the family.
MOTEL: while poor, Motel is a hard-working tailor who falls in love with Tzeitel. He is sensitive, kind, and nervous.
PERCHIK: in love with Hodel, Perchik is an outspoken student who visits Anatevka and repeatedly questions the village’s traditions and customs.
FYEDKA: a strong, young Christian soldier from Russia who falls in love with Chava. He is particularly upset with the Russian treatment of Jews, and in turn runs away with Chava.
YENTE: the meddling matchmaker and usual subject of the town gossip.
LAZAR WOLF: a wealthy, old butcher who is looking to marry Tzeitel.
John Paul Farrell
BEHIND THE SCENES
STUDENT DIRECTOR: Bridget Arbuckle
ASSISTANT DIRECTOR: Karen Kennedy
MUSICAL DIRECTOR: Mark Duray
Mandolin/Guitar - Kyle Curtis
Piano - Clara Duray
Trumpet - Mark Duray
Percussion - Dan Dyer
Bass - Joey Garcia
Keyboard - Toni McDonald-Hinkley
Horn - Dan Pfunder
Violin - Logan Ramon
Cello - Sarah Schirripa
Trombone - John Sedwick
Flute - Ellie Svec
Clarinet - Nancy Yust
COSTUME DESIGN: Barb Gallina
STAGE MANAGER: Bridget Arbuckle
Manager: Nate Marcus
PROP MANAGER: Arinn Cox
Manager: Caitlin Collins
CONCESSIONS - Caroline VanAtter
(1st Woman) This is Sarah's seventh show at GCHS. Along with theater at Guerin Catholic, Sarah has been involved in community theater productions as well as orchestra, Golden Voice, Sounds of Providence, Cecelia, and is the leader of the Guerin Catholic Girls Next Door A'Capella group and the Magnificat club. Sarah's favorite rehearsal memory was blocking "The Dream." Sarah would like to thank her siblings and alumni for inspiring her to do theater, and for the constant support of her parents over the last four years.
Thank you to all the parents and students that have given so much of themselves to make this show a reality. You have touched me and I am a better person for your willingness to enter into my craziness!
So many have helped make this show a reality...
I'd like to thank the students who are a part of the cast and crew. It's not everyday that you get so many students that are so easy to work with. I appreciate all your hard word and trusting me to push you a little further. You made it and you look great! Thank you!
I'd like to thank the parents who drop everything to sew, paint, build, feed or do whatever I need to help serve the students. I'm so blessed to be surrounded by so many talented people who are so generous. Thank you!
I'd like to thank my co-workers and the administration for putting up with the media center morphing into a costume shop. Every spring the media center goes from calm to chaos and you never complain. Thank you!
I'd like to thank Beth Wagoner and Rikki Gibson hanging the beautiful artwork that compliments our show and helps us provide the best intermission in town! Thank you!
I'd like to thank Susan Finley who helped provide make-up for these lovely actors. Thanks for helping them shine on stage! Thank you!
I'd like to thank Bridget Arbuckle for being my better half! You are an amazing young woman. I love how you keep me organized and take care of things even before I tell you to. You make everything easier. Thank you!
I'd like to thank my family for all their support. They encourage and affirm me in this love that brings me such enjoyment even when it is a sacrifice to them. I'd like to especially thank my wonderful husband, David, who always greets me with food after a long day of practice. Thank you!