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Tradition!

The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical

Audiobook
1 of 1 copy available
1 of 1 copy available

Since it first opened on Broadway in September, 1964, Fiddler on the Roof has constantly been onstage somewhere, including five Broadway revivals, four productions on London's West End and thousands of schools, army bases and countries from Argentina to Japan. Barbara Isenberg interviewed the men and women behind the original production, the film and significant revivals—Harold Prince, Sheldon Harnick, Joseph Stein, Austin Pendleton, Joanna Merlin, Norman Jewison, Topol, Harvey Fierstein and more—to produce a lively, popular chronicle of the making of Fiddler. Published in celebration of Fiddler's 50th anniversary, Tradition! is the book for everyone who loves Fiddler and can sing along with the original cast album.

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    • AudioFile Magazine
      L.A. Theatre Works brings the making of FIDDLER ON THE ROOF to life (pun intended) in commemoration of the musical's 50th anniversary. Adam Grupper narrates seamlessly and steadily. The story starts with the germ of an idea planted in author Sholem Aleichem's stories about Tevya and his children and continues with anecdotes of the musical's first touring performances, its opening on Broadway in September 1964, the musical movie, and numerous recordings. Grupper delivers the narrative straightforwardly and gives the quotations appropriate accents. Although this is the story of one of the most popular musicals of all time, there are no musical clips. That's okay because listeners will be humming "Matchmaker, Matchmaker," "Tradition," "To Life," and many of the other familiar tunes in their heads when Grupper describes the songs and scenes. M.B.K. © AudioFile 2016, Portland, Maine
    • Publisher's Weekly

      July 4, 2016
      Isenberg traces the vibrant and rich history of Fiddler on the Roof from its primordial days as a famous Jewish tale, to the development of it as a standalone musical, and its success in various other forms over the years. For the audio edition of her book, Isenberg narrates the introduction, and though it is always nice to hear an author’s voice, she seems to lack enthusiasm and interest in her narration; she sounds bored. This sets a strong contrast to Grupper, who reads the rest of the book with a clear, engaged, and determined voice. His pronunciation is well-executed, with the right amount of emphasis and clarity, especially when dealing with Yiddish and other non-English terms. His lively narration and ease of slipping into character voices when quoting the people involved in the original production, the film, and significant revivals makes the production quite enjoyable. A St. Martin’s paperback.

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  • English

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