Yiddish ‘Fiddler’ returns, a stirring reminder of Jewish loss and revival
The Folksbiene production reconciles the need to speak a universal language, as well as a specific one
The Folksbiene production reconciles the need to speak a universal language, as well as a specific one
Steven Skybell, who played Tevye in a production scuppered by the pandemic, spent lockdown learning Yiddish songs
Samantha Hahn was the youngest member of the critically-acclaimed National Yiddish Theatre Folksbiene production of “Fiddler on the Roof” (she played Tevye’s youngest, Beylke). She’s also an author. In advance of a NYTF book party and discussion May 2, we are excerpting from her book “On the Roof: A Look Inside Fiddler on the Roof…
This article originally appeared in the Yiddish Forverts. After four years of scouring Youtube for Yiddish-language videos to feature in the Forverts’ weekly cultural supplement Oneg Shabes, I thought that I had pretty much found them all. Luckily, there are still some treasures out there to be uncovered. Case in point: Rokhl Kafrissen recently posted…
This article originally appeared in the Yiddish Forverts. Sholem Aleichem has been an unusually frequent topic of conversation in New York this summer, thanks to the critical and commercial success of the National Yiddish Theatre Folksbiene’s Yiddish-language production of “Fiddler on the Roof.” As anyone who has read Sholem Aleichem’s Tevye stories is well aware,…
The FBI yesterday revealed covert photographs of a villager known as Tevye colluding with Russian diplomats. Little is known of the conversation — which Tevye initially denied ever happened. He is suspected of discussing how he might be made “a rich man” and of concealing the conversation by having a violinist play loudly on top…
The wooden houses with their straw roofs, their low beams, and crooked steps, solid wooden churches of dark wood with curved domes and cupolas, creaky old chicken coops and mud paths seemed both distant and familiar. At any moment one expects Tevye to appear from behind a corner nudging his horse, teasing his wife, or…
The world is going to hell, and it turns out Jean-Paul Sartre almost got it right. Sartre’s wartime play, “No Exit,” starts like a lame joke: a pacifist, a lesbian and a murderer die and go to hell. But the cruel joke is on them. There are no corporeal flames, only a conscious inferno: the…
100% of profits support our journalism