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A legacy cut loose

THEATER:

Unmoored from the dark particulars of history, a new 'Fiddler' has become an Everyman saga -- and seems to have lost its soul.

February 15, 2004|Thane Rosenbaum | Special to The Times

"Fiddler on the Roof" may have inadvertently begun as a modernist work of multicultural art. Today, however, amid so many other multicultural offerings, it has been adopted, recycled and deracinated of its uniquely cultural imprint.

It may have reached the widest of possible audiences by universalizing its message (unfortunately the same could be said of "The Diary of Anne Frank"), but in doing so it may have also overshadowed the inherent tragedy of Anatevka, with all those uprooted lives, and traditions that never made it through Customs.

The musical that its producers at first feared no one would come to see because it would be tagged as "too Jewish" eventually captivated the world and became a fixture of the lore and repertoire of American theater. Now, 40 years later, after having successfully maximized its universal appeal, the question, ironically, is whether "Fiddler on the Roof" simply isn't Jewish enough.

Thane Rosenbaum wrote the novels "The Golems of Gotham" and "Second Hand Smoke."

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