Fiddler on the Roof, which premiered in 1964, is a timeless musical. But the fascinating new staging from The National Yiddish Theatre Folksbiene is a time-bending musical. Spoken and sung in Yiddish (with supertitles in both English and Russian), this Fidler afn Dakh feels like an ancient version newly discovered.
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Ms. Joel is certainly her own woman. But, over the course of a whiplash inducing set of 17 standards and new songs, she also has no qualms about establishing herself as the fortunate daughter of Billy Joel and Christie Brinkley.
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This earnest production breathes new life into a depression era tale of unrequited love amid theories of economics. Boasting top notch production values and veteran actors, it is highly watchable, if not highly relatable.
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Based on the late Ned Vizzini’s 2004 novel of adolescent angst amid cyber weirdness, and rocked to life by a couple of Joes (score by Mr. Iconis, book by Mr. Tracz), the work is catnip for theater kids and a dynamic dose of escapism for their parents.
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Straight White Men is an equal-opportunity play, in that there is not enough to it to satisfy anyone. It is also a missed opportunity play. Ostensibly an examination of the meaning of accomplishment as applied to a family of man-boys, the production stumbles and stalls.
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