best Fiddler on the Roof original production story

[calimac]

with director Jerome Robbins and star Zero Mostel

Robbins said little to Mostel by way of direction and that was plenty since Mostel, endlessly inventive, needed little prodding.  When they argued at all, it was over substance, and often over Jewish substance.  "What are you doing?" Robbins demanded at one rehearsal as Mostel touched the doorpost of Tevye's house and then brushed his fingers over his lips.  Mostel offered the obvious answer: "I'm kissing the mezuzah."  Robbins responded bluntly, "Don't do it again."  But Mostel insisted that Tevye, like the Orthodox Jews with whom the actor had grown up, would never neglect to make the customary gesture of devotion that acknowledges the case of sacred parchment affixed to doorways of Jewish homes.  Robbins bristled.  Mostel held firm and kissed the mezuzah again.  Without raising his voice - in fact, the more emphatic he became, the more firmly and calmly he spoke - Robbins demanded that Mostel stop.  The actor relented.  And then, when he walked through Tevye's doorway once more, he crossed himself.  He'd made - and won - his point.  The mezuzah kissing stayed in.

- Alisa Solomon, Wonder of Wonders: A Cultural History of Fiddler on the Roof

Comments

[kalimac.livejournal.com]

The script, which was written by somebody else, was being worked on simultaneously. As as usual with co-authored musicals, the three of them kept in close touch to coordinate how the story was shaping up, which songs were needed, and where they might go. Harnick was able to write the lyrics for this one early because he was sure that scene would stay in. Still, they wrote, it says, about 3 discarded songs for every one they kept. Some weren't even discarded until the preview performances. Have you ever heard "When Messiah Comes"?