Thinly disguised, my ancestors and tradition visited me last week. There they were on the Broadway stage of Fiddler on the Roof — hiding in the shadows, animating the props, and permeating the set — barely masked by actors, lights, costumes, dancing, and song.
I love musical theater, and of course I've seen Fiddler before. Many times.
But for me Fiddler on the Roof is different than other shows, because this one is about me, about my people, and about my journey. Like most of my recent ancestors, my grandfather — the only grandparent I really knew — came from the kind of Eastern European shtetl in which Fiddler is set.
To be sure, my grandfather's life was both more mundane and more extraordinary than anything in Fiddler. He didn't marry off a daughter to a man in Siberia, he didn't dance with cossacks in taverns, and he didn't (I don't think) have a mysterious fiddler variously serving as companion and nemesis.
Equally, my grandfather didn't leave his village as part of a collective exodus. He left alone. Then most of his family perished.
But my grandfather did light Sabbath candles. He treasured his heritage. He lived his life as a stranger in a foreign land. And he grappled with the balance between tradition and modernity. For that matter, so do I.
When the on-stage characters welcomed the Sabbath with candles, wine, bread, and blessings, I saw more than just generations past. I saw a snapshot from my childhood and a mirror of my life today. When Yenta announced that she was moving to the Holy Land, I heard more than a mere desire for new scenery. And when Tevye (played with rare depth and nuance by Danny Burstein) quarreled with God, I felt his pain.
Interestingly, as much as the plot in Fiddler is about tradition, the musical itself is replete with its own traditions. So any new production both depicts and exemplifies the difficult task of balancing what was with what can be, of preserving the past while still addressing the present. This new rendition struck me as masterful in this regard, so I felt particularly privileged to head backstage and meet some of the people who created it: the brilliant director, Bartlett Sher, and a handful of the actors.
Then the stage manager observed how drab and mundane the area backstage is. There's nothing exciting about it — at least, not to judge by appearances — in contrast to the on-stage magic that brings the past vividly to life. Yet if the stage depicts the timeless reality of my people, it's the quotidian reality of the present backstage that makes it possible. Which is real, and which the real fiction? Past and present, extraordinary and commonplace, grandiose and picayune — life is apparently woven from a disparate and mutating mixture of threads.
Fiddler ends on a precarious note of uncertainty as the inhabitants of the fictitious Anatevka leave their village. Does their journey lead to a brighter future? Or have they left behind what they value most? They don't know. In the storybook of my own life, I know that both are true, because I know what the characters do not: the glory of America, the unprecedented tragedy of the holocaust, the miracle of Modern Israel, the rumblings of renewed fear in Europe, the promise of the future, the lessons from our past.
My personal chapter in that storybook has yet to conclude, of course, and I obviously wasn't around before it began. So it was a treat to look back a few chapters and revisit my place in an ever-unfolding adventure that, I am still convinced, is graced by light and joy and happiness and honor and God.