I am grateful to my Bubbe, who arrived in London from the Pale of Settlement in 1890, cradling the first of her 10 children, my beloved grandma. And equally to the paternal grandfather I sadly never met, who made his painful way to Britain from Bobruisk, Belarus, despite his gammy leg. Thanks to them my family thrived here rather than perishing in a pit in the Holocaust. But did they leave voluntarily, or were they pushed out like the Jews of Anatevka?
Daniel Evans’ beautifully thought-through production made me ponder this question more than any previous incarnation of this much-loved musical, based on Shalom Aleichem’s equally-loved tales. Gloriously funny though it may be when appropriate, it provokes thought as well as sentimental tears, starting with the eloquent opening, which actually has these Jews arriving to set up home in Anatevka from wherever else they have fled or been ejected.
Hodl is the second daughter of Tevye, the poor dairyman whose family are at the heart of one of the world’s favourite musicals. She falls in love with Perchik, a student and revolutionary, and follows him into exile in Siberia.
“When I got the phone call that I’d been offered [the part], I burst into tears,” says Kingston. Listen as she tells Judi Herman why, and much more about her research for the part, including reading Shalom Aleichem’s original stories on which the musical is based. The actor also discusses her Jewish upbringing; how she and fellow Jewish cast member Tracy-Ann Oberman (who plays Tevye’s wife, Golde) share insights with the rest of the cast; and the joy of rehearsals with Iranian-born actor and comic Omid Djalili in the role of Tevye.
Fiddler on the Roof runs Monday 10 July – Saturday 2 September. 7.30pm, 2.30pm (various Wed, Thu & Sat: phone to confirm). From £10. Chichester Festival Theatre, PO19 6AP. 012 4378 1312. www.cft.org.uk
Click here to read our review of Fiddler on the Roof.
Ah, Jewish guilt! It propels so many of us. Like our childhoods, it’s a rich seam to mine and Tony Kushner draws on both to fashion this magnificent musical evocation of a time of social change in America he observed first-hand as a small boy. He gives us the microcosm: how change, against the backdrop of Kennedy’s assassination and the civil rights movement, affects a Jewish family in the Deep South.
Although I’ve seen two terrific small-scale productions of Jerry Herman’s musical biopic, this is the first time there’s been a chance to see just how this love song to early movie pioneers would work on the big stage – and with enough money to throw at it to exploit the idea of actually making and showing “tribute” film footage. And before the lights went up, I realised there was another vital element of this great big show that was going to make all the difference – a big band with a wonderfully big brassy sound! So my feeling of well-being began with the overture. A trio of big, familiar numbers at the top of the show serves as a delicious reminder of Herman’s lush score – at the same time sophisticated, yet drawing on that evocative minor “Jewish” fall.