It’s not easy to come out and say this, but I get it now.
There’s a very good reason to hire an experienced director/choreographer for Fiddler on the Roof.
As the foremost expert on the original Broadway choreography by Jerome Robbins’, second after my own mentor, Staś Kmieć, it’s the difference between a “curtain up” production and a great production.
Yes, you probably think I’m bragging about my own services, but now that I’ve seen countless performances, both live and from archival footage, other choreographers who try and remount the show from the choreography manual lack any nuance or insight about the movement or the characters. The choreography looks no better than the paper that the manual is printed on…
Does it matter?
Yes.
If you’re looking for a production that will DEFINITLEY sell tickets, the expertise of us in the direct lineage of Robbins makes that difference. The performance goes from flat and basically selling tickets (Fiddler always does) to a production that WOW’s audiences, gets rave reviews for the theater and sells out based on word-of-mouth excitement.
My experience of course comes from my own mentor, working on the last Broadway tour that Robbins worked on, his long-standing relationship with original cast member and dance captain of the film, in addition to my own ballet mentors who were original cast members. Not to mention time in the off-Broadway revival in Yiddish, which was a rich, theatrical experience itself.
I’m saying this because of the amount of bland, tepid productions I’ve seen and it’s disappointing. Fiddler is a great musical that deserves to be great every time.
It’s the difference between; life-less or…
TO LIFE!
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