January 2., 2023.
Great Interest for the Performance of Fiddler on the Roof in Satu Mare
The next production of the Harag György Company, the musical Fiddler on the Roof, will be on its tour with two sold out performances. The extremely popular play was directed by Márkó Eszter, a former actress of the company, who returns regularly to Satu Mare - most recently she directed the production of Perfumery. The new premiere will take place on Friday, 20 January at 19:00 at the Northern Theatre.
The play is based on The Daughters of Tevye, as well as other short stories by Aléchem Salem. The story has been adapted in many ways, and the musical version was first performed on Broadway in New York on 22 September 1964, and has since been a hit on stages around the world. It was made into a film in 1969, directed by Norman Jewison, and won three of its five nominations at the 44th Academy Awards.
” Márkó Eszter has always been a welcome guest at our company, since her acting career started in our city, and I think her works in Satu Mare are also important milestones in her career as a director. As in the case of The Perfumery, she has sensitively recommended a piece that tells a story about incredibly important values: tradition, progressiveness, faith, humanity, family, the relationship between community and individual - and of course, the all-overwhelming true love...
When we chose the Fiddler on the Roof, we felt the responsibility, both professionally and morally. Here, in Satu Mare, once home to one of the country's most important Jewish communities, now world-famous for its Satu Mare rebbes and Satu Mare Hasidim (about whom best-selling books and popular series have been written), but where hardly any Jews remain today, this story has a special power, yet a universal human message, especially when seen from a minority perspective... This beautiful, heartbreakingly beautiful story, with its well-known, hugely successful songs, has conquered the world's stages with its deeply human story of a religious father struggling with his own convictions, with the happiness of his daughters in mind, on the spiritual soil of a community of ancient world religions in which the daughter is the depository of the future of the whole nation (belonging to the community is determined on the maternal side). As he tries to make the right decisions about his daughters' future, he is also thinking about the future of all Tevye's people. She faces enormous dilemmas in the midst of a world in turmoil, caught in the crossfire of pogroms and revolutionary ideas, where the power of tradition is still a fundamental value but increasingly difficult to sustain. Fortunately for Tevye, however, he has someone to talk to about his doubts: he has an interlocutor who can lead his people out of Egypt and Anatevka, and who can send not only manna from heaven but also a sewing machine to his constituents in times of need.
The story of the milkman, seen from the Americas, may be a nostalgic origin story of survivors - but seen from Europe, it is also a story of a lost (destroyed and partly displaced) community, washed away by the storms of history. It offers a thousand lessons to its viewers, while at the same time it speaks of the human condition and addresses issues that we face today, regardless of religion or origin. Under the hands of Márkó Eszter and her colleagues, a sensitive performance with poetic depth was born, which would not have been possible without the great artists of the Dinu Lipatti Philharmonic joining the project for the second time. I believe that the result of our joint creative work is a performance that will conquer the hearts of the audience in Satu Mare, following the greatest musical stages of the world", says the company's director Bessenyei Gedő István.
The set design was created by András, who worked in Satu Mare for the first time. The costume designer is a returning guest, Kupás Anna. Together with Manfrédi Annamária, Bakk-Dávid László, now a member of the company, has taken on the musical direction of the production and is also the conductor. The director has entrusted the choreography of the production to Darabos Péter, with whom they have worked together in several productions before. The designers were assisted by Szabó Anna, and Ingrid Vonház, assistant choreographer of the production, helped with the creative process.
It's hard to pin down the secret of Fiddler on the Roof's global success. It's a bittersweet musical that's as much about survival as it is about the losses that it takes to do so. It is about the staying power of tradition, but also about how universal human values (humanity, goodness and love) are ancient forces that can defy even this.
The story of Tevye, the Jewish milkman, has a different meaning from America, Israel or Europe (the nostalgia of the survivors or the loss of those who disappeared and stayed behind). Different in peace and different in war. Different in Satu Mare and different in Brooklyn. Different for believer and atheist, different for Jew and Christian. It means one thing to its majority viewers and another to its minority viewers...
But perhaps this is the secret: it means something to everyone - while opening up a perspective.
For Reb Tevye's wisdom does not come from the Bible (which he constantly misquotes), nor from ideologies (which he does not give much credit to), nor from his fatherly authority (which he subordinates to his feelings), and certainly not from his presumption of knowing in advance which way will be the right one. His greatness as a human being, which makes him an admirer even of those who persecute his people, lies in his unceasing dialogue, even in the rigid grip of a closed religious tradition, in search of a solution with an open heart. Not only with his fellow human beings - but also with someone else. A living dialogue with someone who thousands of years before - like a burning bush - had already engaged in conversation with someone - whether they were called Abraham, Moses or even Tevye...
Cast: Rappert-Vencz Gábor, Kovács Nikolett, Bogár Barbara, Budizsa Evelyn, Keresztes Ágnes, Kovács Éva, Poszet Nándor, László Zita, Szabó János Szilárd, Péter Attila Zsolt, Gaál Gyula, Nagy Orbán, Orbán Zsolt, Bodea Gál Tibor, Zákány Mihály, Méhes Kati, Gál Ágnes, Varga Sándor, Diószegi Attila, Erdei Máté, Frumen Gergő, Bándi Johanna, Laczkó Tekla, Nagy Regina, Kovács Szofia, Bakk-Dávid László, Papp Máté, Váradi Milán, Székely Alpár, Gătina Márk Albert, Barbara Ádám, Blága Lehel, Budai József, Erdei Márton, Fleisz Patrik, Kecskés Szabolcs, Vonház Ingrid and Vonház Erik.
Set design: Bodor András, costume design Kupás Anna, assistant set and costume design Szabó Anna. Musical coordinator: Manfrédi Annamária and Bakk-Dávid László, choreography: Darabos Péter, assistant choreographer: Vonház Ingrid, stage director: Szabó Ritta, prompter: Varga Katalin.
The musicians of the Dinu Lipatti Philharmonic: Balaskó Balázs (piano), Didi Péter (drums), Lukács Zsolt (clarinet), Simó Péter (double bass), Szávuly Károly Albert (trombone) and Székely Alpár (violin).
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