Having just streamed the launch of Fiddler on the Roof from Brooklyn Theatre here in Pretoria from the comfort of my lounge what they have achieved Covid and unethical landlords notwithstanding, deserves mention on our Blog. Longer story short Brooklyn Theatre (BT) converted to digital format and successfully streamed Fiddler on the Roof: The musical. It launched this past Saturday 17th of October 2020. I had bought tickets in anticipation of the live performance of this classic. Then Covid struck and all hell broke loose with any function where people were gathered in numbers. BT had secured the rights to produce and had faithfully paid the royalty providing the rights to perform Fiddler.
There was no going back.
When the owners of the theatre that BT used on aregular basis refused to accommodate BT with a reduction in rental that final straw broke the camel’s back and BT decided to go digital based on nothing but Chutspa and stream the production. They had no experience with digital productions and decided to press on anyway. Rehearsals took place on a regular basis until the production flowed smoothly. Musicians provided backing and support. Here I need to declare my interests: My wife Marie plays Yente the matchmaker and daughter Rachel plays one of Tevye’s five daughters, Shprintze. Having declared my interests you will appreciate how BT and the Fiddler production is worthy of support based purely on what they have achieved during Covid19 lockdown and with extortionist landlords. It truly is an ill wind that brings no good with it.BT has taken the leap of faith and has successfully gone digital with their productions.
If ever a production was relevant to a society it is Fiddler’s relevance to South African as well as global society in a post-modern era. The original purpose of Opera to remind society of the morals that guide it is also relevant to this wonderful musical production. The plot is well known to many. A traditional Jewish family living in the Ukraine during a Pogrom by the Russian authorities dispossess them. They have to leave for foreign shores after much protestation by Tevye with only the possessions they can carry. The family headed by Tevye and his wife Golde who lament the loss of their traditional way of life. Tevye draws traditions and teachings which inform their day to day lives from “The Good Book”, quoted frequently by him. Tevye and Golde have five daughters (Tzeitel, Hodel, Chava, Shprintze and Beilke) who need to find suitable Jewish husbands, hence the need for a traditional matchmaker (Yente) to facilitate this. To the frustration of the matchmaker, as well as Tevye, in the end the daughters marry for love. The compassion and understanding of their mother, Golde, provides a softer touch. Tevye accepts their choice after due consideration. Humour punctuates this otherwise tragic storyline of a Ukraine Pogrom, which includes, discrimination, loss of property, the disruption of traditions and displacement of people from the land they have long occupied. A reminder of the perils of current society, the role of traditional family morals and the danger of discrimination based on religion and race. Support a worthy cause at www.brooklyntheatre.tv
Brookly Theatre (BT) will also never be the same again in the Post-Covid world…