FIRST LOVE OF KHODJA NASREDDIN 
based on T.Zulfikarov’s poem
FIDDLER ON THE ROOF 
by Sholom-Aleichem’s "Tevye, the Milkman" novel
PARABLE ABOUT LOVE GIVEN 
a plastique/dance show based on A.Navoi’s “Birds’ Language” poem
KHOLSTOMER, THE HISTORY OF A HORSE
by L.Tolstoy
SODOM AND GOMORRAH - XXI 
a plastique show in a style of progressive rock
WORLDS IN COLLISION
by I.Netanyahu
A HAPPY END
by I.Netanyahu
TARTUFFE
high comedy by J.-B. Moliere
PRINCESS TURANDOT
a comedy-tale for adults by C.Gozzi
CONSTELLATION OF OMAR KHAYYAM
by T.Zulfikarov’s poem
A WOMAN IS A DEVIL
a comedy by two plays of P. Mérimée 
OVER AN ABYSS IN A LIE…
kids’ truth about adults’ fraud by works of Tennessee Williams and Andrey Makayonok 
SCARLET SAILS
musical extravaganza by A. Grin
DOCTOR IN SPITE OF HIMSELF
the funniest farce by J.-B. Moliere
EIGHT LOVING WOMEN
a revelation about women in a French manner by R.Thomas
CREEPS  
a casting drama by L.Hubner
EQUUS
by P.Shaffer
THE HONEST PEOPLE
a lyric drama based on the I.Turgenev’s play “Month In A Village”
A TASTE OF HONEY
by Shelagh Delaney

 

 

FIDDLER ON THE ROOF

On the basic of the Sholom-Aleykhem’s novel «Tevye – the milkman»

Music by Jerry BOCK
Play by Joseph STEIN
Lyrics by Sheldon HARNICK
Translated by Natalya MELKOVA

Directed by The honored Artist of the Republic of Uzbekistan Nabi ABDURAKHMANOV
Stage design and costumes by Dmytry MOKHOV
Remaking of the musical, writing of original music for the stage version of the theatre was done by Composer Eola PAK
Choreography by Shukhrat TOKHTASIMOV
Choirmaster Natalya KOBZEVA
Teacher of vocal Ekaterina MELKAMINI
Teacher of ballet Lyudmila NEMIROVSKAYA

There was used some fragments from the choreography of Jerome POBBINS
The premiere was on the 14th of May, 1995
Duration of performance with interval is 3 hours 15 minutes

This adaptation of Sholom-Aleykhem’s story “Tevye – the Milkman” staged in 1995 by Honored Artist of Republic of Uzbekistan Nabi Abdurakhmanov with assistance of the Embassies of Israel and USA in Uzbekistan. It played to enthusiastic reviews from both critics and the genera public in Tashkent.
Not only was it the stage version of a well-known and well-loved musical by Jerry Bock and Joseph Stein. But the performance was also the culmination of the Young Spectator’s Theatre’s artistic efforts. The Director uses the stage space professionally, giving an opportunity for the music and movement, all produced by one company of actors. The actors brightly and persuasively convey the history of their own heroes. The performance is lyrical, full of human feelings and internal Light in souls of heroes.
During the "HUMO" International youth theatre festival in Tashkent one of the performance Fiddler on the Roofs was dedicated to the memory of great actor, Solomon Mikhoels, who played the role of Tevye the milkman in the Moscow State Jewish theatre. His daughters - Nina Mikhoels – professor of Beit Tsvi Theatrical School of Israel and Natalya Mikhoels, a writer, came to Tashkent to watch the performance.

Nina Mikhoels was very moved. She told us afterwards that she hadn’t seen such an emotional, and frank performance for a very long time, and she thanked the actors of their profession.
"I’ve seen many different stagings of Sholom Aleykhem’s remarkable and beautiful work. But the version I’ve just seen here in Tashkent has exceeded all my expectations, - she said. “ I’m in shock to the depths of my heart. No words can express my impression after your "Fiddler on the roof".

The director has so finely brought out the theme of human understanding, of human souls and of peoples never-ending dreams of happiness, “she said”. The image of Теvye the philosopher and sufferer who meets all lifes trials with an irrepressible sense of humor, has always touched me. My father loved his hero very much too and during several years played the role of Теvye the milkman, including in the Uzbek State theatre during the Second World War".
Israel literary critics, visiting Tashkent thanks to the Worldwide Jewish Agency SOHNUT, said that unlike the more familiar American, this version is more exact and close to Sholom Aleykhem’s original story. Because the Uzbek stage version is enriched by more closely follows the poetry of the author, they noted, the theatre has managed to avoid melodrama and has succeeding in touching the real, tragic depths of the story.