A New York Times Book Review Editor’s ChoiceIn the half-century since its premiere, Fiddler on the Roof has had an astonishing global impact. Beloved by audiences the world over, performed from rural high schools to grand state theaters, Fiddler is a supremely potent cultural landmark.
In a history as captivating as its subject, award-winning drama critic Alisa Solomon traces how and why the story of Tevye the milkman, the creation of the great Yiddish writer Sholem-Aleichem, was reborn as blockbuster entertainment and a cultural touchstone, not only for Jews and not only in America. It is a story of the theater, following Tevye from his humble appearance on the New York Yiddish stage, through his adoption by leftist dramatists as a symbol of oppression, to his Broadway debut in one of the last big book musicals, and his ultimate destination—a major Hollywood picture.
Solomon reveals how the show spoke to the deepest conflicts and desires of its time: the fraying of tradition, generational tension, the loss of roots. Audiences everywhere found in Fiddler immediate resonance and a usable past, whether in Warsaw, where it unlocked the taboo subject of Jewish history, or in Tokyo, where the producer asked how Americans could understand a story that is “so Japanese.”
Rich, entertaining, and original, Wonder of Wonders reveals the surprising and enduring legacy of a show about tradition that itself became a tradition.
Alisa Solomon teaches at Columbia University’s Graduate School of Journalism, where she directs the Arts & Culture concentration in the MA program. A theater critic and general reporter for The Village Voice from 1983 to 2004, she has also contributed to The New York Times, The Nation, Tablet, The Forward, and other publications. Her first book, Re-Dressing the Canon: Essays on Theater and Gender, won the George Jean Nathan Award for Dramatic Criticism. She lives in New York City.
A Little Bit of This,
A Little Bit of That
Glenn Beck was welling up as he neared the conclusion of his Restoring Courage rally in Jerusalem in August 2011. The conservative, conspiracy-mongering talk show host choked back tears as he bade his audience farewell. As he left the stage, exit music swelled: “Sabbath Prayer” from Fiddler on the Roof.