Thursday, May 26, 2011
Fiddler on the Roof at Brotherhood Synagogue
LOOKING AHEAD by Wally Dobelis
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Fiddler on the Roof at Brotherhood Synagogue
LOOKING AHEAD by Wally Dobelis
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Wally Dobelis thanks Sara Rothman and internet sources
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Wally Dobelis thanks Sara Rothman and internet sources
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Wally Dobelis thanks Sara Rothman and internet sources
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Wally Dobelis thanks Sara Rothman and internet sources
LOOKING AHEAD by Wally Dobelis
Fiddler on the Roof at Brotherhood Synagogue
Suffering from an overkill of real life drama, wars and refugees, it was very pleasant to find relief in seeing a revival of Fiddler on the Roof, the really “things will work out” positive attitude musical, from the early 1960s. It is a tale of Tevye the milkman, father of seven daughters, in the little town of Anatevka in 1905 Tsarist Russia, amidst Cossacks, pogroms, and revolutionaries, trying to bring up and properly marry off his children. The play was presented by the children of the Hebrew School of Brotherhood Synagogue, on May 19 and 20, 2011, to overflow audiences.
Over the years we have had the pleasure of hearing the revivals of most great musicals in this school rich neighborhood, particularly at Friends’ \Seminary (great Gilbert and Sullivan) and Brotherhood. The Fiddler is an n especially good choice. A Broadway favorite, with longest original run record of 3,242 performances, starting in 1964, with at least half a dozen hummable melodies, the record held until Grease came along. Composed by Jerry Bock (he also did Fiorello), with lyrics by Sheldon Farnick and book by Joseph Stern, a Bronx boy of refugee parentage, Fiddler has historically accurate depictions of life in a forgotten shtetl in Czarist Russia (the rabbi, when asked by the children how the Czar should be blessed, answered “with long life, long distance from us”)
The action, in scenes led by songs, begins with the villagers declaring their devotion to tradition, and quickly diverts to marriage, the girls begging the matchmaker Yente (Sophia Messeca) to grant them a dream. It turns out that rich and elderly butcher Lazar Wolf, (Alexander Cohen) wants Tevye’s (Evan Neiden) oldest daughter, Tzeitel (Julie Eichner), which brings Tevye to the lament, If I were a Rich Man. He wants to educate his daughters, not shuttle them off to wealthy suitors, and has given room in the house for Perchik (Max Teirstein), who is a student and reformer, and can tutor. But Tzeitel loves Motel, a tailor (Peter Murzin),and Tevye, who has sealed the deal with Wolf by singing To Life , now shockedly realizes that the course of true love breaks the tradition, letting the daughter prevail (Miracle of miracles). He persuades his wife Golde (Nicolaia Rips) by a pretend dream nightmare sequence, in which the girl’s grandmother (Josie Ingall) chooses Motel. The wedding is happy, Sunrise, Sunset is sung.
But trouble is on the way, Perchik also wants to marry a daughter, Hodel (Sofia Southey). Tevye is happy (Now I have Everything), but the police arrest Perchik and he is sent to Siberia, Handel wants to follow him.
As it were not enough, daughter Chave ((Rowana Miller) elopes with a Russian Christian boy, Fyedka ((Milo Roth), While Tevye and family mourn their lost daughter, comes word that the Tsar has ordered al the Jews in Anatevka to abandon their homes and move elsewhere. Tevye and family affirm their love for each other, the villagers sing of their bellowed Anatevka, and they move on, upbeat, hoping for a future in America.
The Fiddler was part of the New York’s great musical play era, with meaningful themes and tuneful melodies. The original Tevye way Zero Mostel, and many school, summer theatre and regional revivals have tried to capture his magic, available in a movie adaptation, with British actor Chaim Topol, (Fiddler had 2,000 plus West End theatre performances). The actors of the Brotherhood production were 12 years old or younger, and substituted joy and performing pleasure for acting skills, all very successfully and joyfully, as it should be. The audiences were enchanted.
Credit for the successful performance is also due to the teachers, parents, religious leaders and staff of the Synagogue, as well as outside helpers. The producer of the musical was Judith Shapiro of the teaching staff, and director Barbara Simon, choreographer Clare Cook and musical director Scott Stein, providing piano accompaniment are theatre/ teaching professionals. Makeup artist Linda Eichner is a parent and costume designer Alice Roi ha s been member of the congregation since early childhood, Bonnie Fine of Publicity is a school graduate, and graphic designer Cary Block and violinist Sylvie Rosen are students. Rabbi Daniel Alder, quoted earlier, and Executive Director Phil Rothman, action commentator between scenes, were both members of the cast. A Broadway musical with a cast of dozens, and rented stage and decorations, is quite an undertaking for a synagogue, and there were a number of silent sponsors who made everything right. Given more time and space the Brotherhood Synagogue version of the musical could have carried on, spreading joy beyond the two performances – remember, the original version had 3,242 nights of glory. Zero Mostel and Marc Chagall, the painter whose Fiddler on the Roof gave the name to the musical, as a symbol of survival through tradition in an environment of imbalance and uncertainty, would have been pleased.
Friday, May 20, 2011
New Yorkers are bomb-conscious
LOOKING AHEAD by Wally Dobelis
On Thursday, May 13, around 10PM watchful New Yorkers noted two gasoline tanks on the back seat of a 1991 Oldsmobile Ciera parked by the Con Ed building on Irving Place near 14th Street . Bomb technicians broke the windows of the car to check for incendiaries while the police traced the owner who was at the British rock band Buzzcocks performance in the Fillmore East at Irving Plaza concert hall. The band stopped the concert to call for the owner of the car, who turned out to be a professional gardener from the suburbs. I can feel for the guy, having traveled with my lawn mover gas tank, in my ancient Ciera, two cars ago (today I put my red gas tank in the trunk). This was the fifth reported suspicious object, since the May1 failed bombing near Times Square.
On the good news side, this story confirms that New Yorkers take bomb threats seriously. A neighbor reports that she called 911 when she saw a large closed black suitcase standing on its end, on corner 17th Street and Irving Place on a Saturday morning, on her way to the Farmers’ Market, seemingly ignored by the passersby. She did not wait for the police, but on her way back the trunk was gone. With no word in the press, this was presumably not a serious incident, but we all must be aware of the threats.
The fact that tee-shirt sellers around town volunteer as the NYPD’s eyes and ears speaks well for the unofficial reporting system that we all participate in, and the quick action, identifying Faisal Shahzad, presumably helped by his one-time cell phone in buying the car, his forgetfulness in leading his house keys behind in the car, and the recordkeeping of the fireworks’ sellers in Pennsylvania, acts that led to his arrest in 52 hours. But we were also lucky and should not count on the next terrorist doing legitimate purchases and goofing up the explosion and leaving evidence at the site.
That raises a few questions, starting with the thought that suicide bombers can be expected to sabotage their own attacks. First there was Richard Reid in 2001, trying to set his shoelaces on fire in full view of the airplane passengers, meekly permitting to be subdued by volunteers and crew; next, Umar Farouk Abdulmutallab, held by passengers on the Detroit-bound plane on December 24, as his bombing attempt was discovered. This was a bad bungle by security, ignoring Umar‘s father’s warning to the authorities. Shahzad also submitted meekly, expressing surprise at the late arrest. All three of these bombers caught in action spoke freely of their intent, raising the question as to whether their bungles were intended as warnings, avoiding the public outcry and world-wide uproar that any major terror acts against the innocents would create. Is Al Quaeda trying to become a public protector, what with Obama bin Laden speaking out against global warming perpetrated by the capitalist West?
More importantly, the West has lost a lot of the Muslim world’s sympathy, gained after 9/11, as a result of civilian casualties incurred in Afghanistan, in pursuit of terrorists deliberately hiding among the populace. It really started in Iraq, with our 2004 invasion, which the Bush administration justified as purportedly neutralizing Iraq’s weapons of mass destruction. The world did accept our earlier action in Afghanistan right after 9/11/2001, in pursuit of Al Quaeda terrorists and their protectors, the Taliban; in fact, Iran pledged $500 million, in restructuring Afghan life, in the interests of bettering their Shia Persian country’s relationship with its Sunni neighbors. But the Bushites spurned the peace offer, almost immediately declaring Iran a member of the Axis of Evil, with Iraq and North Korea.
Subsequently, President Barack Obama, being a good American, pursued the terrorists further, including targeted bombings among Taliban supporters hiding in Pakistan. The collateral casualties are costing us supporters, and generating Jihadist enemies, some even here in the US. As to where the Muslims in US have stood, the religious Muslim structure has condemned terrorists and suicide bombers in principle, as contrary to the basic teachings of the Prophet. Yet, the feelings among some of the young American-born Pakistanis and Arabs have been influenced by world events, and family interaction with their relatives abroad cannot be denied. Consequently, the wars have given strength to the teachings of some US-born radicals, such as Anwal al-Awlaki now hiding in Yemen, preaching vengeance. He succeeded with Umar, Faisal and particularly with the mass killer at Fort hood, psychiatrist Nidal Malik Hasan.
All this is no news to President Barack Obama, whose actions against terrorists may be military successes, but whose peace restoration efforts suffer, as a consequence. Concurrently pushing for peace with sheiks and radical leaders while spot-bombing their troops worked in World War II, which was warred between governments, but here we are in a different environment. Our military leaders, while brilliant academicians and peace theorists who understand the three cups of tea approach, will have to change their tack. One direction must be to have the participants realize the inexorable deadliness of our weapons. This is no Rudyard Kipling or former USSR war, we are technologically unstoppable, and even Pushtuns must recognize our ability to identify and pinpoint our targets. The need of coming to peace before our air power inexorably destroys them one by one, must be sold to them and their families, with Chinese, Indian, Saudi and Arab League and particularly Pakistani cooperation... Obama needs this, but so do they, and so does the world.
Corrections: buiti is “good” in Garifuna, and simba is “lion” in Swahili. Thank you!
.
On Thursday, May 13, around 10PM watchful New Yorkers noted two gasoline tanks on the back seat of a 1991 Oldsmobile Ciera parked by the Con Ed building on Irving Place near 14th Street . Bomb technicians broke the windows of the car to check for incendiaries while the police traced the owner who was at the British rock band Buzzcocks performance in the Fillmore East at Irving Plaza concert hall. The band stopped the concert to call for the owner of the car, who turned out to be a professional gardener from the suburbs. I can feel for the guy, having traveled with my lawn mover gas tank, in my ancient Ciera, two cars ago (today I put my red gas tank in the trunk). This was the fifth reported suspicious object, since the May1 failed bombing near Times Square.
On the good news side, this story confirms that New Yorkers take bomb threats seriously. A neighbor reports that she called 911 when she saw a large closed black suitcase standing on its end, on corner 17th Street and Irving Place on a Saturday morning, on her way to the Farmers’ Market, seemingly ignored by the passersby. She did not wait for the police, but on her way back the trunk was gone. With no word in the press, this was presumably not a serious incident, but we all must be aware of the threats.
The fact that tee-shirt sellers around town volunteer as the NYPD’s eyes and ears speaks well for the unofficial reporting system that we all participate in, and the quick action, identifying Faisal Shahzad, presumably helped by his one-time cell phone in buying the car, his forgetfulness in leading his house keys behind in the car, and the recordkeeping of the fireworks’ sellers in Pennsylvania, acts that led to his arrest in 52 hours. But we were also lucky and should not count on the next terrorist doing legitimate purchases and goofing up the explosion and leaving evidence at the site.
That raises a few questions, starting with the thought that suicide bombers can be expected to sabotage their own attacks. First there was Richard Reid in 2001, trying to set his shoelaces on fire in full view of the airplane passengers, meekly permitting to be subdued by volunteers and crew; next, Umar Farouk Abdulmutallab, held by passengers on the Detroit-bound plane on December 24, as his bombing attempt was discovered. This was a bad bungle by security, ignoring Umar‘s father’s warning to the authorities. Shahzad also submitted meekly, expressing surprise at the late arrest. All three of these bombers caught in action spoke freely of their intent, raising the question as to whether their bungles were intended as warnings, avoiding the public outcry and world-wide uproar that any major terror acts against the innocents would create. Is Al Quaeda trying to become a public protector, what with Obama bin Laden speaking out against global warming perpetrated by the capitalist West?
More importantly, the West has lost a lot of the Muslim world’s sympathy, gained after 9/11, as a result of civilian casualties incurred in Afghanistan, in pursuit of terrorists deliberately hiding among the populace. It really started in Iraq, with our 2004 invasion, which the Bush administration justified as purportedly neutralizing Iraq’s weapons of mass destruction. The world did accept our earlier action in Afghanistan right after 9/11/2001, in pursuit of Al Quaeda terrorists and their protectors, the Taliban; in fact, Iran pledged $500 million, in restructuring Afghan life, in the interests of bettering their Shia Persian country’s relationship with its Sunni neighbors. But the Bushites spurned the peace offer, almost immediately declaring Iran a member of the Axis of Evil, with Iraq and North Korea.
Subsequently, President Barack Obama, being a good American, pursued the terrorists further, including targeted bombings among Taliban supporters hiding in Pakistan. The collateral casualties are costing us supporters, and generating Jihadist enemies, some even here in the US. As to where the Muslims in US have stood, the religious Muslim structure has condemned terrorists and suicide bombers in principle, as contrary to the basic teachings of the Prophet. Yet, the feelings among some of the young American-born Pakistanis and Arabs have been influenced by world events, and family interaction with their relatives abroad cannot be denied. Consequently, the wars have given strength to the teachings of some US-born radicals, such as Anwal al-Awlaki now hiding in Yemen, preaching vengeance. He succeeded with Umar, Faisal and particularly with the mass killer at Fort hood, psychiatrist Nidal Malik Hasan.
All this is no news to President Barack Obama, whose actions against terrorists may be military successes, but whose peace restoration efforts suffer, as a consequence. Concurrently pushing for peace with sheiks and radical leaders while spot-bombing their troops worked in World War II, which was warred between governments, but here we are in a different environment. Our military leaders, while brilliant academicians and peace theorists who understand the three cups of tea approach, will have to change their tack. One direction must be to have the participants realize the inexorable deadliness of our weapons. This is no Rudyard Kipling or former USSR war, we are technologically unstoppable, and even Pushtuns must recognize our ability to identify and pinpoint our targets. The need of coming to peace before our air power inexorably destroys them one by one, must be sold to them and their families, with Chinese, Indian, Saudi and Arab League and particularly Pakistani cooperation... Obama needs this, but so do they, and so does the world.
Corrections: buiti is “good” in Garifuna, and simba is “lion” in Swahili. Thank you!
.
Thursday, May 19, 2011
Dear Mayor Bloomberg: you owe me $15
LOOKING AHEAD by Wally Dobelis
Third Avenue, bus-wise, is probably the worst served North-to-South thoroughfare in Manhattan, in terms of local traffic, particularly between 14th and 23rd streets. If you are at the express stops, no problem, but local stop riders, beware.
There are three bus lines servicing Third Ave, starting with M101, which is strictly express, all the way to 195th Street and St. Nicholas Ave... You will see several of the lofty express vehicles passing your local stop. M102, ending at 147th and Adam Clayton Powell Boulevard, is local and should be coming through every 12 minutes – I am talking weekday noontime schedule. M103, City. Hall to 125th Street, the one I have taken, should be sailing by every 15 minutes. Thus, theoretically, it should take 7 min. minimum, 15 min. maximum to get on board.
Alas, that’s the schedule. In actuality it takes closer to half an hour. How do I know? Well, when you reach a certain age, you have to visit uptown MDs with increasing frequency. Strategic travel planning is required - if the objective is to the east of Third Avenue, it may be better to do some extra walking, going to First Avenue and taking an M15 local, which run more frequently. Why is that so? Well, for one, M15 is a Select line, which means that local and express (i.e. Select) stops are different, although they will be within the same block. Local clients must be served frequently, since the Select has its own sidewalk ticket wending machines, and the efficient MTA does not want confused cash or Metro card customers board the elite buses and cause confusion, and vice versa. The other reason, to me, is the fact that when three lines serve one venue, e.g. Third Ave., one suspects some degree of negligence, such as expectation that “Charlie will take care of it.”
Using the M15 on Second Ave return trips is a misery, because of frequent construction. In the low 70s and high 60s, the east sidewalks are tied up with construction, and 2-3 story high super heavy street-wide steel girder frames are sitting on the side, presumably waiting for the giant worm to open up the street so that the girders can disappear underground, a really scary apparition, reminding one of childhood storybook nightmares. Living in those expensive condos must be very demanding. However, that’s progress, population growth must be provided for and not be controlled, Nearly all the conservative presidential candidates have made abortion repeal the central issue, temporarily abandoning jobs, budgets and Afghanistan,
I have great expectations of the Bloomberg administration, for the greening of our fair city. After all, the great subway enthusiast has created bicycle lanes, with separators or medians, so that neither parked cars nor traffic lanes endanger the bikers. In Brooklyn, the wide Prospect Park West is down to two traffic lanes, with an extra mid-road parking lane and a bike lane and medians added. It actually works, as noted in non-rush hours. Further, the closed playstreets along Broadway – Union Square, around Madison Square and Times Square- seem to operate securely, although driving has become more complex. But, maybe the extra fresh air is worth the extra exhaust emissions and the driver ire.
So why I, apparently a Bloomberg supporter, am claiming that he owes me a debt? Well, that goes back to the Third Avenue local bus, or absence thereof. It is symbolic, and stands for wasted money. I have not always been so free with my time to wait for a M103, or do the extra walk to First Ave for an M15, and have had to grab an occasional yellow cab to the upper Eastside MDs. Cabs, as you will note from their door stickers, cost $3 per flag drop, not just $2.50. It includes just that little extra $.50 to the right of the fare box, and represents the state surcharge. Surcharge increases by another $.50 for 8PM to 6AM, and, yet one more, during weekday 4PM to 8 PM rush period. Distance charges are $.40 per 1/5 mile, and a charge per minute whenever speed drops below 12 miles an hour.This may or may not explain the cabfare mysteries. Expect another increase, the paper work is in the tube: one driver tells me that his daily gas cost is $50, up $15 since the crisis. Taxi driver tips, already down to around 10 percent since the last increase, will probably take another hit. Meanwhile, live healthily and shop locally.
Third Avenue, bus-wise, is probably the worst served North-to-South thoroughfare in Manhattan, in terms of local traffic, particularly between 14th and 23rd streets. If you are at the express stops, no problem, but local stop riders, beware.
There are three bus lines servicing Third Ave, starting with M101, which is strictly express, all the way to 195th Street and St. Nicholas Ave... You will see several of the lofty express vehicles passing your local stop. M102, ending at 147th and Adam Clayton Powell Boulevard, is local and should be coming through every 12 minutes – I am talking weekday noontime schedule. M103, City. Hall to 125th Street, the one I have taken, should be sailing by every 15 minutes. Thus, theoretically, it should take 7 min. minimum, 15 min. maximum to get on board.
Alas, that’s the schedule. In actuality it takes closer to half an hour. How do I know? Well, when you reach a certain age, you have to visit uptown MDs with increasing frequency. Strategic travel planning is required - if the objective is to the east of Third Avenue, it may be better to do some extra walking, going to First Avenue and taking an M15 local, which run more frequently. Why is that so? Well, for one, M15 is a Select line, which means that local and express (i.e. Select) stops are different, although they will be within the same block. Local clients must be served frequently, since the Select has its own sidewalk ticket wending machines, and the efficient MTA does not want confused cash or Metro card customers board the elite buses and cause confusion, and vice versa. The other reason, to me, is the fact that when three lines serve one venue, e.g. Third Ave., one suspects some degree of negligence, such as expectation that “Charlie will take care of it.”
Using the M15 on Second Ave return trips is a misery, because of frequent construction. In the low 70s and high 60s, the east sidewalks are tied up with construction, and 2-3 story high super heavy street-wide steel girder frames are sitting on the side, presumably waiting for the giant worm to open up the street so that the girders can disappear underground, a really scary apparition, reminding one of childhood storybook nightmares. Living in those expensive condos must be very demanding. However, that’s progress, population growth must be provided for and not be controlled, Nearly all the conservative presidential candidates have made abortion repeal the central issue, temporarily abandoning jobs, budgets and Afghanistan,
I have great expectations of the Bloomberg administration, for the greening of our fair city. After all, the great subway enthusiast has created bicycle lanes, with separators or medians, so that neither parked cars nor traffic lanes endanger the bikers. In Brooklyn, the wide Prospect Park West is down to two traffic lanes, with an extra mid-road parking lane and a bike lane and medians added. It actually works, as noted in non-rush hours. Further, the closed playstreets along Broadway – Union Square, around Madison Square and Times Square- seem to operate securely, although driving has become more complex. But, maybe the extra fresh air is worth the extra exhaust emissions and the driver ire.
So why I, apparently a Bloomberg supporter, am claiming that he owes me a debt? Well, that goes back to the Third Avenue local bus, or absence thereof. It is symbolic, and stands for wasted money. I have not always been so free with my time to wait for a M103, or do the extra walk to First Ave for an M15, and have had to grab an occasional yellow cab to the upper Eastside MDs. Cabs, as you will note from their door stickers, cost $3 per flag drop, not just $2.50. It includes just that little extra $.50 to the right of the fare box, and represents the state surcharge. Surcharge increases by another $.50 for 8PM to 6AM, and, yet one more, during weekday 4PM to 8 PM rush period. Distance charges are $.40 per 1/5 mile, and a charge per minute whenever speed drops below 12 miles an hour.This may or may not explain the cabfare mysteries. Expect another increase, the paper work is in the tube: one driver tells me that his daily gas cost is $50, up $15 since the crisis. Taxi driver tips, already down to around 10 percent since the last increase, will probably take another hit. Meanwhile, live healthily and shop locally.
Thursday, May 12, 2011
Kentucky Derby brings back memories
LOOKING AHEAD by Wally Dobelis
This week has been so full of live drama to drive our newsgroupie and frequent contributor Dr. Paranoia to the brink. As he says, only being paranoid will today save you from going crazy. To save himself from doing analysis about Osama bin Laden, the budget, the inflation to follow denials of debt expansion, Obama’s successors and Donald Trump’s high scores, he has latched on to a happy tale, the Kentucky Derby, Saturday before Mother’s day, May 7. 2011.
If you haven’t gotten to the back pages of the Paper of Record these days, note that the Derby was won by a substitute for a champion horse that was withdrawn. The surprise winner was a turf-trained colt named Animal Kingdom, from the British stable of Graham Motion. His Woods Memorial winner and major favorite, Toby’s Corner, had come up lame, and was out. Animal Motion had not raced on dirt and was an unknown quantity, and Motion’s regular rider Robby Albarado was also out , with a broken his nose when a horse in practice kicked him in the face.
To ride the colt, Motion chose Johnny Velasquez, a well known respected jockey who never won the Derby in 12 starts, and had his last three races cancelled when horses were withdrawn, including Uncle Mo, last years’ Juvenile champion, who was not himself after a stomach infection. Race horses are delicate individuals. A year earlier, Johnny V’s mount Eskendereya was unable to perform, and Quality Road before that.Besides, the jockey had never ridden Animal Kingdom, quoted at 30-1.
But Velasquez accepted, and he odds went to 20-1.When he mounted the colt for the race, he felt good, the colt was eager, and the track was dry. After a fair start of the field of 19, Animal Kingdom was in tight quarters, but managed to shake loose and ran easy on the outside , slowly drawing closer to the leader Shackleford. In backstretch he was 12th and put on speed, beating all favorites and finishing 2 ½ lengths ahead of the next horse.
The brave people among the 164,858 devotees at Churchill Downs, those who bet the colt, ended with $43.80 for a $2 wager, out of the $1.4 M first place purse.
This reminded Dr. P. of the fact that he is still a lifetime winner in betting on the Triple Crown favorites. The TC is composed of the Derby, Preakness Stakes and Belmont Stakes, in case you forgot. In 1953, when he was a youngster, working in the mail department of a major corporation, his final job of the day was to take registered mail to the 23rd St. Post Office. To handle the load, an older clerk from the Accounting Dept who could use the overtime would assist him, and after the completion, the two would occasionally retire in the sumptuous dining room of the Kenmore Hotel (those were the days of glory at the K) for a single beer. They talked of sports, particularly racing, and Lou the accountant introduced our hero to the secrets of betting on horses. It turned out that one of their office elevator operators (another job title lost to technology), Tommy, was a bookie, and successful, as one could tell by the number of people who rode with him to the top floor. Is there an easy way to predict races, asked the novice. No , per Lou, although if you bet a favorite for 3rd place (“show”), and want to wager $50, you can get the guaranteed track minimum payment of $2, if the horse comes in 1st or 2nd or 3rd. It’s a big risk, but some people do it well, betting only the safest of horses. It’s your choice, kid, opted Lou, I would not do it, but if you want I’ll place it with Tommy, who ordinarily does not take minimum bets.
This was all pretty exciting for our hero, because 1953 was the year of Native Dancer, a great three-year old who won all races that he ran. The future Dr. P., on his way to being a great prognosticator of politics, gave Lou his $50, just about his total savings, over three weekends, to bet 3rd place on Native Dancer, and the wonder horse never failed him, although it did come in second at the Derby. Native Dancer won the Woods Memorial, precursor to the Derby, the Preakness Stakes, the Belmont Stakes, until an injury forced the Dancer into early retirement, and stud work, earning his owner millions, until passing away in 1967. Our hero was soon promoted out of handling registered mail and the temptation to bet. As it came out later, Lou had actually booked the bets himself, counting on the law of averages to eventually award him the $50. Those were really meaningful numbers in 1953, beyond a clerk's wages.
Kentucky Derby the battlefield of the thoroughbreds owes its fame to the importing of three Arabian thoroughbreds, to be bred with the American horses. It was a success as the results of two centuries show, and American horse auctions attract buyers from all over the world, particularly the Arab oil billionaires. Since 1977 Sheikh Mohammed bin Rashid al-Mantoum, now Vice President and Premier of UAR and ruler of Dubai, has spent millions each year to train and breed major thoroughbreds, aiming particularly for a Kentucky Derby winner. Since 90 percent of people worldwide get to know and (briefly) remember Derby winners, it would help in glorifying the Arab state's name. National pride is a powerful driver.
Dr. Paranoia thanks the NYTimes for a fascinating, memories- evoking story.
This week has been so full of live drama to drive our newsgroupie and frequent contributor Dr. Paranoia to the brink. As he says, only being paranoid will today save you from going crazy. To save himself from doing analysis about Osama bin Laden, the budget, the inflation to follow denials of debt expansion, Obama’s successors and Donald Trump’s high scores, he has latched on to a happy tale, the Kentucky Derby, Saturday before Mother’s day, May 7. 2011.
If you haven’t gotten to the back pages of the Paper of Record these days, note that the Derby was won by a substitute for a champion horse that was withdrawn. The surprise winner was a turf-trained colt named Animal Kingdom, from the British stable of Graham Motion. His Woods Memorial winner and major favorite, Toby’s Corner, had come up lame, and was out. Animal Motion had not raced on dirt and was an unknown quantity, and Motion’s regular rider Robby Albarado was also out , with a broken his nose when a horse in practice kicked him in the face.
To ride the colt, Motion chose Johnny Velasquez, a well known respected jockey who never won the Derby in 12 starts, and had his last three races cancelled when horses were withdrawn, including Uncle Mo, last years’ Juvenile champion, who was not himself after a stomach infection. Race horses are delicate individuals. A year earlier, Johnny V’s mount Eskendereya was unable to perform, and Quality Road before that.Besides, the jockey had never ridden Animal Kingdom, quoted at 30-1.
But Velasquez accepted, and he odds went to 20-1.When he mounted the colt for the race, he felt good, the colt was eager, and the track was dry. After a fair start of the field of 19, Animal Kingdom was in tight quarters, but managed to shake loose and ran easy on the outside , slowly drawing closer to the leader Shackleford. In backstretch he was 12th and put on speed, beating all favorites and finishing 2 ½ lengths ahead of the next horse.
The brave people among the 164,858 devotees at Churchill Downs, those who bet the colt, ended with $43.80 for a $2 wager, out of the $1.4 M first place purse.
This reminded Dr. P. of the fact that he is still a lifetime winner in betting on the Triple Crown favorites. The TC is composed of the Derby, Preakness Stakes and Belmont Stakes, in case you forgot. In 1953, when he was a youngster, working in the mail department of a major corporation, his final job of the day was to take registered mail to the 23rd St. Post Office. To handle the load, an older clerk from the Accounting Dept who could use the overtime would assist him, and after the completion, the two would occasionally retire in the sumptuous dining room of the Kenmore Hotel (those were the days of glory at the K) for a single beer. They talked of sports, particularly racing, and Lou the accountant introduced our hero to the secrets of betting on horses. It turned out that one of their office elevator operators (another job title lost to technology), Tommy, was a bookie, and successful, as one could tell by the number of people who rode with him to the top floor. Is there an easy way to predict races, asked the novice. No , per Lou, although if you bet a favorite for 3rd place (“show”), and want to wager $50, you can get the guaranteed track minimum payment of $2, if the horse comes in 1st or 2nd or 3rd. It’s a big risk, but some people do it well, betting only the safest of horses. It’s your choice, kid, opted Lou, I would not do it, but if you want I’ll place it with Tommy, who ordinarily does not take minimum bets.
This was all pretty exciting for our hero, because 1953 was the year of Native Dancer, a great three-year old who won all races that he ran. The future Dr. P., on his way to being a great prognosticator of politics, gave Lou his $50, just about his total savings, over three weekends, to bet 3rd place on Native Dancer, and the wonder horse never failed him, although it did come in second at the Derby. Native Dancer won the Woods Memorial, precursor to the Derby, the Preakness Stakes, the Belmont Stakes, until an injury forced the Dancer into early retirement, and stud work, earning his owner millions, until passing away in 1967. Our hero was soon promoted out of handling registered mail and the temptation to bet. As it came out later, Lou had actually booked the bets himself, counting on the law of averages to eventually award him the $50. Those were really meaningful numbers in 1953, beyond a clerk's wages.
Kentucky Derby the battlefield of the thoroughbreds owes its fame to the importing of three Arabian thoroughbreds, to be bred with the American horses. It was a success as the results of two centuries show, and American horse auctions attract buyers from all over the world, particularly the Arab oil billionaires. Since 1977 Sheikh Mohammed bin Rashid al-Mantoum, now Vice President and Premier of UAR and ruler of Dubai, has spent millions each year to train and breed major thoroughbreds, aiming particularly for a Kentucky Derby winner. Since 90 percent of people worldwide get to know and (briefly) remember Derby winners, it would help in glorifying the Arab state's name. National pride is a powerful driver.
Dr. Paranoia thanks the NYTimes for a fascinating, memories- evoking story.
