fiddler on the roof @ regent’s park open air theatre + exclusive q&a with associate choreographer, Laura Braid
The reimagination of the beloved classic ‘Fiddler on the Roof’ took place this past summer season at the cinematic, innovative and multidimensional venue that is, Regent’s Park Open Air Theatre.
From the moment the venue, creative team and cast were gradually announced, the anticipation and excitement for this unique production were only getting bigger. This is musical theatre at its finest, elevating the already golden material of the original creatives, to a spectacle of a different flare.
1964 Original Broadway production creative team includes:
Director and Choreographer: Jerome Robbins
Music composer: Jerry Bock
Lyricist: Sheldon Harnick
Book Writer: Joseph Stein
Scenic Designer: Boris Aronson
Costume Designer: Patricia Zipprodt
Lighting Designer: Jean Rosenthal
Designer: Tom Scutt
2024 Regent’s Park Open Air Theatre London production creative team includes:
Director: Jordan Fein
Choreographer: Julia Cheng
Associate Choreographer: Laura Braid
Assistant Choreographer: Emma Farnell-Watson
Writer: Jerry Bock
Musical Supervisor: Mark Aspinall
Orchestrations: Larry Blank
Fight and Intimacy Director: Yarit Dor
And here we are, 60 years later, making history on stage and in the open air…
Followed by an insightful Q&A from associate choreographer, Laura Braid:
1. Q: How does this FOTR production represent audiences from different walks of life, in ways that perhaps were not as evident in older productions?
A: The first thing that came to my mind when reading this question was Jordan Fein’s (Director) suggestion and choice to use each cast member’s authentic accent in the show. He had spoken about this quite early on in the process when we got into rehearsals. It can be easy to fall into the trap of trying to portray what people think a very ‘Jewish type of voice’ is meant to be. It was very important to Jordan in this version of the show, for every cast member - each of whom brought something very special and important individually- that their accents reflected that uniqueness. Even though the performers were acting through and, in the process, embodying these characters, there was still a level of authenticity and individualism, which felt important through their native accents too. It felt different from anything I had seen previously. There was such a wonderful mix of cast too, with a variety of UK-born and North American-born individuals, this brought a sense of modernity and held true representation of people from different places and backgrounds. I also felt there was a very beautiful sense of attention to allowing the cast members that were part of the queer community to shine through. Even though that was not a particular theme that was part of the original script, the cast’s queerness and identities were honoured in such subtle and celebratory ways. That was felt visually within the wardrobe and costuming as well, from the wigs that were being used to each piece of design that completed the puzzle. Furthermore, there was a massive age range in the cast from the youngest cast member being 18 and the oldest in their 70s. It felt really cool to see the age gap dynamic. It also meant that everyone would have someone in the show to relate and connect to.
2. Q: What was the creative process like when reimagining a show with such a rich legacy while still keeping it innovative and showcasing authenticity?
2. A: I could go on forever about this question! On a very personal note, the creative process for this particular show and experience for me, was honestly so special to be part of. This marked my very first time in an Associate Choreographer role for a show of this scale and quality, so it was a huge moment for me. I still feel a little bit out of my body about it. It is like a fever dream when I stop to reminisce about it to any extent! I am very grateful to have been part of the production and a creative team as talented and inspiring, as the one that brought this version of FOTR to Life! It was so inspiring to watch Jordan Fein work with the script and his vision of how he saw this whole thing playing out. The way he held space for the actors and the environment he fostered, was wonderful to witness. It was a warm and collaborative space, which is what made the show so honest and magical. And of course, getting to work with Julia Cheng (Choreographer) on a very direct basis was amazing. I got to work with her in Cabaret (Kit Kat Club) and that was incredible in its own way - but this was a whole other, intimate level. To be on the other side of the table was really enlightening. Also, to see pieces of my voice be implemented and valued, championed and utilised in ways that aided the show felt amazing.
In terms of the show itself, of course, Fiddler on the Roof has such a deep and long-standing legacy. We spoke about it all the time as a creative team and Jordan had vocalised the depth and detail that would have to go into it and its rich history. It is obviously huge amongst the Jewish community and there was a lot of pressure on that, especially in the early stages. From a choreographic standpoint, the thing that felt really interesting and a bit scary was that none of the choreographic team are Jewish. By not being part of that community and culture, we had to really immerse ourselves in that history and delve into tons of research; including watching old videos, and traditional forms of dancing that took place at the time. Asking ourselves - How can we honour the authenticity of that movement while still making it ours and new? In this version of FOTR, there was only one choreographic number that was true to the original Jerome Robbins version in the film version - The Bottle Dance. He did it so immensely well that felt so right to keep it exactly as it was. It was a very big thing for Julia that everything else was completely new and original choreography, creating the language and sequences that would link it all together. I think our biggest battle was in maintaining a language done on film and transcribing it to the stage, as well as being true to our roots. Another element to add is that the majority of the cast’s primary discipline was not dance. It was very interesting to work with a group that would not necessarily bring movement in a technical sense and would not classify themselves as ‘‘dancers’’ mainly. At first, it felt like quite a big task, but what became evident so quickly was that this particular cast was so fully committed to their craft. Everyone really gave themselves to what we were asking of them and their level of reception and openness was 100% in. Therefore, the authenticity of how they perceived movement actually felt even more aligned than it probably would have with a group of professional dancers. It was spot-on, relatable and magically different. Julia is wonderful in the way she works with her cast so collaboratively; everyone is involved! She likes to highlight everyone’s voice in the room. The willingness to just play and let things go, and as they say in the industry to ‘kill your baby’, as we were choreographing, was really big in this creative process. To not be afraid to evolve, to modernise and to create a choreographic language that has elements of our own voice, as well as leading to the individual sparkle of each cast member.
3. Q: What has been the biggest lesson in telling a story that choreographically portrays specific cultures, religions and rituals? How does one maintain tradition with an edge and a modern vision?
3. A: I think the biggest lesson on a personal level in telling a story that choreographically portrays specific cultures, religions and rituals, was being extremely open and receptive. To be willing to try new things, ask as many questions as possible and exercise my curiosity. It might be the tiniest detail that one would never think of asking before such as ‘Would these two people hold hands or would they not touch at all?’.
For many shows, choreography and physicalities may have worked differently but for something like FOTR, so many traditions and rituals are part of the show and the culture it conveys. It certainly felt important and needed to be honoured in that way and was also a big lesson for us as a team. To twist and shift things as needed, researching, and seeing traditional ways of celebrating and connecting through movement as part of Jewish culture was really important. Maintaining tradition and introducing modernism was definitely hard but the ending result really created a fine balance. To reiterate, neither Julia Cheng nor Emma Farnell-Watson (Assistant Choreographer) or myself are Jewish, which made it incredibly difficult. We always prioritised being respectful of what is true to the culture and religion from a movement perspective. But I think, if I may, the answer to that is to also be a bit fearless. I think that element needs to be there when you are trying to merge things, whilst paying homage. Julia Cheng’s choice to maintain the original Bottle Dance choreography by Jerome Robbins, was such a nod to the legacy of the show that is world-renowned. People in the audience would clap or snap along, especially in that number, and it was so special to see what the people knew this show to be from a choreographic space, but then not being afraid to throw a different flare at them. I believe that the point in creating is for the work to sit with people, move people and stir people up in all kinds of different ways. Yes, we create for audiences, but ultimately it is creating for expression’s sake.
I think this production did a brilliant job at exactly that. They were authentic to the people in the cast; these are modern people that are alive here and now, some of which have a lot of traditions of their own and some of which don’t. There is such a varying array within the cast itself and to play amongst that whole spectrum is something I feel very proud to have been a part of.
4. Q: A highlight of the rehearsal process that felt exactly right when it reached the stage and exceeded your expectations?
4. A: I LOVE this question! Hands down, the Bottle Dance; Oh my god… that piece itself and that moment happening every night was so major. Every single time I watched I was on the edge of my seat screaming with excitement!
I'd especially like to highlight that in The Bottle Dance that you saw in our version of FOTR, there were NO tricks or aids to keep the bottles in place! Every single night those artists performed this number in real-time, without extra pop support - truly anticipating any potential falls/drops alongside the audience holding their breath. I am so proud to say not a single bottle was dropped in the entire run! That came from many hours of rehearsing and working with all departments to determine the right formula of how much water each bottle should be filled with, how the hats needed to be fitted etc, to try and ensure the greatest change for success. There were endless discussions over how we would make the Bottle Dance work, and in the end, it did with immense success. That was one of the proudest moments our team had.
There was such a beautiful day that comes to mind about this piece, while we were still in the rehearsal room at Regent’s Park. We were in the rough run-through stage, and we had gotten to that section from the Wedding Dance, into the Bottle Dance. I honestly have not felt a room so electric in my life! For one, the guys had smashed the piece - no pun intended. Brilliantly, no bottles had been dropped… For so many others in the room that day, it was actually the first time they saw that moment happen in real-time, including a lot of the cast (As we would rehearse this piece separately, with only the dancers of the scene involved). That moment in rehearsal with everyone there witnessing it, was palpable with anticipation. Everyone was so invested that it actually felt like we were at a real wedding! When the piece was pulled off so successfully in the room, the way everyone burst into cheers and celebration was so special and memorable. Not knowing whether a bottle would fall or not each night, made everyone - cast and audience - so involved.
It is a moment in the show that will stay with me forever.
5. Q: What do you hope audiences take away from watching this production of FOTR? (feel free to respond separately for younger/mature/regular theatre-goers/first-timer audiences!)
5. A: Without speaking on behalf of the rest of the creative team, my answer to this is actually quite simple;
Not just for FOTR, but for anything that I do, it feels so important as an artist that the audience just takes away some kind of connection to the piece. It could be that they felt so moved by the delivery of the script or the precision of the movement or the authenticity of the performance.
Whatever it was - as grande and deep or as little and simple as possible, as long as something is felt, that is more than enough for me. For this specific story of Fiddler on the Roof, in correlation to the time we are in now as a society, and with everything that is happening in the world, I just really hope people can take away love.
To take away an ounce of the endless love from this show, would mean something significant. There are so many relationships in this story, both beautiful and excruciating. There is absolutely something for everyone to connect to. It is so real, so guttural and relatable.
I hope this story and our rendition of it being told, open its audiences up to the willingness it takes to be receptive to love; to allow people to be who they are and to love who they want. Even if we don’t necessarily agree with other’s choices, lifestyles or ways of being, we can choose to respect one another and co-exist; for me, that feels detrimental.
It felt so poignant that this show happened when it did.
