Rants and reactions to contemporary politics, art and culture.
Monday, December 17, 2018
The National Yiddish Theatre's Fiddler
"The Fiddler" by Marc Chagall (1912)
Remember hating your parents and their friends self-satisfyingly talking aboutFiddlerwhen you were a rebellious teenager? Even though you heard it was based on Sholom Aleichem, it was just one more Broadway musical frequented by the old folks. If you were going to see a show, let it beOh! Calcutta!orHair. But what an eye opener to see the National Yiddish Theatre Folksbiene's revival at the Museum of Jewish Heritage (the current run is sold out but it’s moving uptown to Stage 42). Perhaps it’s the authenticity conveyed by the fact that the production is in Yiddish and you start off with “ist das ein leben?" "Is this a life?" Perhaps you’re warmed by phrases like “meshugganah gedanken.” But the real crux lies in the iconic title song. “Tradition” is what Tevye (Steven Skybell) the famed character is not doing a very good job of upholding. The world is falling apart around him. From a dialectical point of view it’s not only the incipient liberation of his daughters, but the prospect of revolution itself that looms on the horizon. Like a lot of Russian based literature, by the way,Fiddlerhas its revolutionary student, its Bazarov, in the form of Pertshik (Drew Seigla) who breaks taboos by introducingthe unheard of notion of romantic love and asking Tevye’s daughter Hodl (Stephanie Lynn Mason) to dance. Ironically the very means by which Jewish life created its own secularized literature and mythology, Yiddish, will preside over its own extinction.Yiddish would ultimately lead the way to cultural assimilation.The dissolution of the village creates the drama, but it’s the voice of freedom that’s the real enemy. The narrative presides over the development of consciousness and even though Tevye’s daughter Khave (Rosie Jo Neddy) does the unthinkable in marrying out of the faith, her father caves in and gives her his blessing. The melting pot and liberation that ultimately await these characters will eventually have them speaking English rather than their colorful native tongue. Don’t miss this Fiddler.
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Francis Levy's debut novel, Erotomania: A Romance, was released in August 2008 by Two Dollar Radio.
His short stories, criticism, humor, and poetry have appeared in The New York Times, The Washington Post, The New Republic, The Village Voice, The East Hampton Star, The Quarterly, Penthouse, Architectural Digest, TV Guide, The Journal of Irreproducible Results, and other publications. One of his Voice humor pieces was anthologized in The Big Book of New American Humor (HarperCollins). His collection of parables, The Kafka Studies Department with illustrations by Hallie Cohen will appear in
September.
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