Broward Community College - Silver Sands Yearbook (Fort Lauderdale, FL)

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ln... May the Lord protect and defend you. Tevye: You forgot my order N Photos by Peter Paige ia .4 had Without our traditions, our lives would be as shaky as... - as a fiddler on the roof

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Miss Mullikin continued that zoo one of which showed the action age llivell as photographed by era in the light booth. The other ed a close-up of the conductor eason for that little cameral. This :ie image that those on stage saw ie televisions set up under the oam-covered wall at the edge of Jron. There were also two larger n either wing for songs sung off And so it was that the actors to be cued - without an stra pit. and at times manned the box office. And even with a cast of over 40 there was some doubling up of actors and singers. For example, in Act I Joe Accomando was a Jewish son in the Prologue, the high Russian tenor in Scene Four, a Jewish musician in Scene Seven, a Russian soldier in Scene Eight, and a Jewish musician in Scene Four Nine. of the Russian dancers grew in--2, my O. Woodle, chairman of the Division of Fine Arts Mildred B. Mullikin and Mrs. s Ullivarri were dramatic ,ors for Fiddler on the Roof, y O. Woodle and Thomas J. Cole musical directors, and Miss ira Rassel was choreographer. h Cappello lassistant technical :or to Richard M. Rose, ll, and mer choreographeri also helped ge the dance numbers, in Miss l's absence. And that, as anyone led will agree, is an awful lot of 5, even for a Fine Arts Division iction. ne Williams and the Cultural rs Office became involved with roduction when it was decided to cize Fiddler along with the Artist 5 through the mailing list. That 2 handled tickets, some publicity, beards and became Jewish bottle dancers, all in Scenes Five-Eight, Miss Rassel commented that although most of the men were non-dancers, many had atheletic or gymnastic experience and they were very hard working people. They weren't put off by anything, The Russian dances, by the way, were primarily a collection of folk steps, the bottle dance is a Jewish folk dance, and the wedding dance was simply a polka. Mrs. Ullivarri had said that we might have tried to do too much in too little time. lFiddler at BCC rehearsed only six weeks, most professional companies rehearse a musical for several months before opening.i However, both she and Miss Mullikin agree that since a musical does not necessarily afford drama students an opportunity to perform it was necessary to do two productions for Term I. little emphasis is put upon the academic aspect of college theater.She said that there are two main reasons for drama at BCC: to provide a showcase that the public regards as 'Good Theater,' and to teach the little adorable, irascible individuals which provide our purpose for being here, while we're rehearsing, we're teaching. Of course, there were still problems. The orchestra was composed of members of the Broward Symphony Orchestra, many of them nonastudents. Because of conflicting schedules, they were only able to rehearse as a group four times before opening night. And a special word about Irene Horzepa, who not only served as piano accompanist for most of the rehearsals, but was called upon to play the accordion parts of the score throughout the performance run. An electric piano was used which sounded almost like a celeste. As for the play itself, Miss Mullikin considers it a play with music rather than a musical. llt is based on the play Tevia and His Daughters from the short stories of Sholom Aleichem.l Thomas J. Cole said Musically it's a good show, dramatically it's a good show, and added that he disagrees with those critics who say that a community college like BCC should not attempt a large scale musical, like Fiddler on the Roof. But somehow Fiddler did get off the ground, sometimes literally. For example, in Tevye's Dream which was almost a nightmare of accidents: handles broke, tombstones shattered, bedlamps fell, and pearls and purple fingernails flew across stage. lOh well. Crack a wheel, Fruma.l L'Chaim.

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