https://www.wsj.com/articles/fiddler-on-the-roof-review-a-richer-deeper-interpretation-1531865223
“Fidler afn Dakh.” Sounds crazy, no? But at the Museum of Jewish Heritage, that is what is presented: “Fiddler on the Roof,” a classic American musical, entirely performed in a language now rarely heard (Yiddish), neither spoken by its director (the Broadway veteran Joel Grey ) nor by most of the cast (which includes some players from the most recent Broadway production).
Yet the result is thrilling: It is almost as if “Fiddler on the Roof” (1964) were being restored to some primal form. And though Russian and English translations are projected on sides of the stage, they are often unnecessary. When Tevye—the dairyman who regularly argues with God and quotes Scripture—dreams of being a wealthy man and sings “Ven ikh bin a Rotshild,” can anyone doubt the meaning? In fact, so virtuosic is Steven Skybell in that role that he often needs no language at all for us to feel his character swerve from ironic mockery to righteous anger to heartbreak.
The sense of restoration partly arises because “Fiddler” is loosely based on stories by the great Yiddish writer Sholem Aleichem ; the language’s culture, intonation and imagery leave traces throughout the musical. This ancestral influence can even be personal: Mr. Grey is but a generation removed from Yiddish performance culture (his father was the musician and comic Mickey Katz ).
The main force here is the National Yiddish Theatre Folksbiene, which has been reviving Yiddish theatrical and musical traditions under the artistic direction of Zalmen Mlotek. Mr. Mlotek’s taut yet supple conducting of a reduced 12-member orchestra reaches back to the klezmeric spirit and devotional melody that the musical often alludes to, making the results seem more authentic while inspiring Staś Kmieć ‘s homage to the original’s choreography.