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Fiddler on the Roof: Authenticity of the American Remembrance of Jewishness through the
Dramatic Arts
Section I: Introduction: Fiddler on the Roof and the Golden Age of Musicals
Fiddler on the Roof, a musical focused on a Jewish family in Eastern Europe, opened in
the mid 1960’s and was to become one of the most successful musicals ever created despite its
deviation from the focus on American culture. The musical was written by Joseph Stein, music
by Jerry Brock, and lyrics by Sheldon Harnick and first opened at the Imperial Theatre in New
York City on September 22, 1964 (Jones 2003). Moving afterward to both the Majestic Theatre
and The Broadway Theatre, Fiddler on the Roof ran for a total of 3,242 performances (Jones
2003). This number made it one of the longest running shows, beating out the success of
Oklahoma!. Fiddler held the position for a full ten years until the success of Grease obtained the
title in the late 1970’s (Jones 2003).
During this era in musical theatre, a reoccurring formula had been established by the
famous duo, Richard Rogers and Oscar Hammerstein II, who created a sense of expected success
for the producers in Broadway (Jones 2003). Rogers and Hammerstein, the creators of
Okalahoma!, monopolized Broadway by focusing their musicals on a structure based on love,
pressing social issues of inequality, and including new musical additions such as the use of
reprise and the integration of songs into the plot (Jones 2003). This structure was unlike any of
the previous shows before its generation, challenging social class structure and inequalities with
edgier characters and relationship, inclusion of a more meaningful plot, and a marriage between
story and music while still including the ever popular theme of love. The new structure of
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musicals not only forced a more thought provoking and emotional journey to the stage but tore
the audience away from grand gestures that centered around escapist entertainment rather than a
work of art. Though the new structure introduced major view points on social issues, shows
seemed to hold an inability to fully recognize the oppressed parties mentioned by the end of the
show, causing entertainment to hold precedent over the driving subject matters. American
superiority became a connecting theme among musicals because an outward celebration of
anything other than what American society was, was too great of a challenge for the audience
and threatened a shows success.
It is with this idea in mind that the success of Fiddler on the Roof can be understood
despite its façade of differentiality. Its shift of focus from America to Europe and its celebration
of Jewish culture are just some of the ways that Fiddler hides the characteristics of the typical
musical structure, drawing upon social interest and universal themes to further its success beyond
its successful structure. In this essay I want to touch the ways in which Fiddler on the Roof
follows the “successful structure” of a musical, how its reflection of Jewish culture and relations
solidify the idea of American superiority, and the ways this reflection of the American
remembrances of Jews hold authenticity.
Section II: The Struggles of Reb Tevye and His Family
Fiddler on the Roof is focused on the life of Tevye, a Jewish dairyman who lives in the
town of Anatevka. The play is set in 1905, during what is understood to be a time on the brink of
a revolution that encompasses the secondary conflict of the story. The show is separated into two
acts: the first revolving around the introduction of characters and their beliefs, while the second
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regards the revolutionary conflicts and the resolutions among the townspeople. The show starts
with a song entitled “Tradition” where Tevye sings a description of what it is to be Jewish in the
town of Anatevka, as well as foreshadowing one of the two main conflicts. The two major
conflicts of love and revolution/social oppression that arise in this play, intertwine together to
create an outward visual of the struggles of being Jewish.
The first act centralizes on the conflict of love created by Tevye’s daughters. The act
starts with “Tradition” and moves towards a representation of living situations in the town of
Anatevka. The song “If I Were A Rich Man” establishes the town’s struggle to attain everyday
needs. Tevye works as the towns milk man, barely making enough money to feed his family of
eight. The conflict of love becomes prominent in the play when the matchmaker Yente comes to
Tevye’s house with a match for the oldest daughter, Tzeitel. When the girls overhear, they break
into “Matchmaker”, explaining their feelings toward love and the practice of matchmaking in
their religion, coming to the conclusion that they desire a freedom of decision. Tzeitel confronts
Tevye shortly after, explaining how she wants to marry her childhood love, Motel. After a
monologue debating whether or not he should allow this, Tevye decides that because Motel is of
the same religion he will allow the marriage and sneakily convinces his wife, Golde, to break
Tzeitel’s match with the wealthy Lazar Wolf.
A character by the name of Perchik wanders into Anatevka and is welcomed into Tevye’s
family, acting as a tutor for the children to further their education. Perchik is a socialist radical
who introduces many new ideas to the family that begin to challenge their religion and culture.
Because of his good intentions, Tevye lets him stay and a love blossoms between him and the
second oldest daughter, Hodel. When Hodel announces their engagement, Tevye debates with
himself yet again, as to whether he should allow it. He compares the situation to that of Tzeitel
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and decides to give his blessing because Perchik is not only in Tevye’s good graces but is also
Jewish. By the end of the second act, Tzeitel and Motel get married and boundaries are broken
when Hodel and Perchik dance together at the reception. The atmosphere of the culture starts to
shift as the characters begin to accept new changes that the younger generation has introduced.
The mood is destroyed when the wedding is raided by a group of Soviets who threaten to invade
Anatevka and run the Jews out, ending the first act.
The second act highlights the second theme of racial conflict and the stuggles of Jews
through the threat of revolution by solidifying the feud between the Soviets and the Jews. After
being attacked at the wedding by the Soviets, the townspeople of Anatevka come together to
discuss what they should do next. A Soviet’s government official, who is fond of Tevye, warns
that the town will be raided in three days’ time and advises that they leave. While this is taking
place, the youngest daughter Chava marries one of the Soviet soldiers that she fell in love with
prior to the raid. Chava confronts her father who unkindly dismisses her, claiming that she has
gone too far to marry an enemy. Tevye has a monologue again which reflects on his decisions
and how the last few months in his life have greatly tested his beliefs and faith in his religion. He
debates on whether or not to forgive Chava and strongly rejects the idea, claiming that there is a
line that can’t be crossed. After disowning Chava, the town decids that the best decision is to
leave, reflecting on the memories that they had there and their fear of the future. The play ends
with everyone parting ways, each talking about where their lives are heading and the places they
are going. Tevye decides that he will go to America and packs up his wagon to head to his new
home. The play ends on a sad note, having the family parting ways completely and leaving the
place that many generations of their people had lived yet keeping a glimmer of hope,
representative of the hope that Jews have carried throughout their history.
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Section III: Fiddler’s Jewish Authenticity and Americanization
Fiddler on the Roof’s American success was generated through its ability to use the basic
formula of musical theatre while incorporating worldly interest on the Jewish culture to extend
its success. The structure of a musical during the Golden Age of theatre centered on a theme of
love (the boy meets girl, boy loses girl, boy gets girl back conflict), superiority of American
values, and an integrated structure of plot and music. Fiddler fell under each and every one of
the distinguishing factors of a successful musical while going further to appease the curiosity
about Judaism and the Jewish culture that seemed to be developing after World War II. The main
conflict of the three daughters and their significant others, as well as Golde and Tevye’s
relationship, fully represents the theme of love both in its presence in the musical and ability of
the relationships to cover a multitude of different characteristics and scenarios related to the boy
meets girl conflict.
Love is a subject that was and always will be important in a piece of entertainment
because of its universal quality. The fact that love knows know language but is a characteristic of
what it is to be living, allows it to be easily included into a musical and cause interest and
success. Incorporating four different love stories into the musical, we get a wide scope of the
different dimensions of love as each have a unique characteristic about one’s battle for happily
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ever after. With Tzeitel and Motel we see what it means to be in love with someone who you feel
is right for you. With Hodel we see the struggle of falling in love with someone who is so
different from yourself and loving them despite all of that. With Chava we see that love has no
boundaries, and with Golde and Tevye, we see that love does not equate with infatuation. This
diversity causes an audience ability to choose which set of characters they will relate to rather
than being forced to identify with a central couple. The diversity also creates a sense of
universality, creating a bridge for the audience to try and relate and understand the religious and
cultural focuses of Judaism to the piece.
While the theme of love becomes the most prominent conflict of the musical because
love causes less conflict than commentary, it is clear that the inclusion of American cultural
praise is also present. The main evidence that express American superiority comes from the
conflict between the Jews and Soviets. Throughout history Jews have had several enemies of
every different type of race and culture. The inclusion of the Soviets as the Jews enemies
represents the strong anti-communist sentiment that was greatly pulsing through American veins
at this time. Choosing the USSR as the enemy not only focuses on the anti-Semitism that Jews
regularly had to face, it is also representative of the frustration that Americans felt against the
Soviets during the Cold War. The USSR and America were both considered superpowers after
World War II and a tension developed between the two countries, due to their opposing views,
has had a lasting effect on their relations even to this day. The underlying theme of American
superiority of the USSR is relatable to relations with other countries and proves to be relevant
beyond its original time period.
The idea of the superiority of American values is also present in the character, Perchik.
Perchik is the socialist, radical character who comes to the town in order to earn some money
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and pass along his teachings to others. When he comes to teach the family, he talks greatly about
where he comes from and how their values are more desirable than the one’s in Anatevka. He
preaches frequently about freedom and how people in other places have the ability to choose the
life that they want and this is greatly appealing the young girls. The fact that he is a traveling
teacher embodies the job that America has taken upon itself to help out other countries that they
feel are in need. His character exemplifies the values of America and his actions reflect to the
role in which America plays as a superpower, globally. His success at winning over Hodel is
another example of American superiority because of her personality and its relationship to the
kind of belief’s Perchik holds. Hodel is the daughter who is very stubborn and dedicated to her
culture and way of life. She is known to be very sarcastic and question opposing views. Her
falling in love with Perchik of all people, expresses in a very indiscreet way how American
values are superior to most.
In addition to its structural soundness, Fiddler on the Roof really grabbed interest because
of its focus on Jewish culture. Around the time that the musical was written, there was a surge all
over the world developing with a desire to remember Jews and their suffering. Different places
around the world would create museums, cafes, and other institutions commemorating the Jews,
celebrating their religion and culture. Fiddler’s focus on Jewishness was not only a refreshing
subject that had rarely been a topic of interest in the world of musical theatre, it satisfied the
growing curiosity and desire to remember that was spreading throughout the world. Fiddler on
the Roof creates a realistic façade, reflecting perceived ideas of the Jewish culture and reenacting
old Jewish traditions and situations.
The show incorporated a lot of cultural and social Jewish practices to paint a picture of an
older Jewish Culture. Two major religious characteristics that helped to create a realistic
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representation of Judaism in the show were the inclusion of the Sabbath and wedding rituals.
The Sabbath is the Jewish day of rest occurring every Saturday evening where the family gets
together in communion and worship. In the play the Sabbath is presented by the family as a night
where they come together for dinner and perform a ritual prayer which is represented through a
song about the hopes that they have for the family. Though it is established that the whole town
celebrates it through their greetings of “good Sabbath”, beyond this scene the Sabbath is
mentioned no more. The other concept that truly identifies with the Jewish religion is the aspect
of marriage that are seen when Motel and Tzeitel are wed. The marriage takes place with
readings from a Rabbi while the couple stands under a canopy. A breaking of glass wrapped in a
cloth ends the ceremony as well a kiss between the couple.
The idea of Jewishness created in this musical however, destroys a lot of the authenticity
that this piece claims to have. The show is authentic because it does accurately include bits of the
Jewish religion through the inclusion of ritual practices as well as their spiritual mindset.
However, a main reason for the inauthentic quality of the show is the idea that the whole story in
itself is fictional. The musical is set in a time prior to the world that it was created in and with
that comes a different perspective to the Jewish culture. Having it set in 1905 causes an image of
Jews that is not specifically based on the nature of the religion but encompasses multiple aspects
of the culture based on location as well as the time period. That being said, the idea of what it is
to be virtually Jewish is created. Ruth Ellen Gruber, the creator of the terms virtually Jew,
describes this concept as being simultaneously authentic and not authentic. She uses the term to
describe locations in Eastern Europe where the goal is to establish a sense of Jewish culture
through the architecture, locations, and celebrations of the town. Fiddler on the Roof relates to
this idea because it is trying to represent a culture accurately in a fictional way. Though the
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practices that are present in the show are real, and the sense of community and religion is real,
the town, people, and situation are not. Being Jewish is not mainly a culture but a religion.
People extend that religion through to a society or culture and establish that as what it is to be
Jew rather than their religion and what it means. The show in a lot of ways creates a stereotypical
Jew in order to visually express to the audience the essence of Jewishness in order to be more
marketable. It seem prominent that the show would not be as successful like it counterparts, if it
had stuck only to the religious aspects of Judaism. Adding the rich culture of what Judaism
might have been and an interesting conflict coupled with it, adding a satisfying answer to the
audience curiosity of Jews.
Section IV: To Adjust or Rewrite? That is the Question
Ways to improve Fiddler on the Roof could greatly depend on what your intention for the
piece is. As a piece of entertainment, Fiddler on the Roof is a fun way to be introduced to the
Jewish culture equipped with catchy songs and an interesting plot line. However, its lack of
authenticity allows for people all over the world to remember Jews in a very different way than
they may have been. The motives of Fiddler on the Roof seem beyond that of informing people
about Judaism and are more focused on a social message of relationships of all kinds. Because it
is hard to change something about a play without completely tearing it apart, a perhaps better
way to present this play would be to adjust it to modern times. Yes, some of the script would
have to change but putting it in a more modern setting could perhaps allow the audience to
understand the religion beyond the cultural implications that the writing is trying to establish.
The director could put it in today’s world and focus on a conflict in Jewish society today. Instead
of arranged marriages being expected they could be suggested and the religious practices could
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still apply. Changing the time could add accuracy while still having the same general plot and
keeping it just as entertaining.
Another suggestion could be fixed based on the audience. For instance, the play as is
could be really perfect for a group of children because it provides a very basic understanding of
what Judaism was and some the practices of the religion. However, for an older audience a
director’s note establishing to inauthentic qualities of the piece could really set the mindset of the
audience to pick and choose what is authentic and what is not. The director’s note could include
what he or she wants to audience to focus on, and the reasons as to why this piece was written an
why they are producing it. This note could help establish that mindset while still allowing the
audience to enjoy the show.
Despite its inauthentic qualities, Fiddler on the Roof is still one of the most famous pieces
of musical theatre in history. Its focus on love and Judaism together create a successful pair in
the element of entertainment and helping audiences everywhere in their goal of remembering
Jewishness. Its universality allows people to bridge the gap to the past culture of the Jewish
people. Though its goal is not authenticity, the message of confidence in one’s beliefs and the
importance of perseverance show clear through its songs and dialogue. It’s a piece dedicated to
the struggles of Jews and their solid hope and outlook on life.
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References:
Jones, John Bush. Our musicals, ourselves: a social history of the American musical theater.
Hanover: Brandeis University Press, published by University Press of New England, 2003. Print.
Bock, Jerry, and Joseph Stein. Fiddler on the roof. New York: Crown Publishers, 19651964.
Print.
Gruber, Ruth Ellen. "Beyond Virtually Jewish: New Authenticities and Real Imaginary Spaces in
Europe." Jewish Quarterly Review: 487-504. Print.
http://www.reformjudaism.org/jewishholidays/shabbat?gclid=CLfbhbDpib4CFTMV7AodKX4Alg