THE ROADSHOW ENGAGEMENTS
What follows, for historical record and nostalgia, is a chronological reference listing of Fiddler on the Roof’s North American reserved-seat “roadshow” engagements (otherwise known as Phase One of its release cycle). These were special, long-running, showcase presentations in major cities prior to the film being exhibited as a general release. The roadshows featured advanced admission pricing, reserved seating (typically sold in advance), and an average of ten scheduled screenings per week (one per evening, plus a matinee on weekends, Wednesdays and holidays, though this policy varied by locale and/or was modified during the latter phase of engagement). Souvenir roadshow programs were sold as well, and the presentation included an intermission, entr’acte and exit music. (Many roadshows included an overture, as well, though Fiddler, like some notable exceptions, lacked such an introduction.)
Out of all of the feature films released during 1971, Fiddler on the Roof was among only two given roadshow treatment by their respective studios. (Nicholas and Alexandra was the other 1971 roadshow.)
Roadshow presentations, compared to general release and the average moviegoing experience of the era, typically were booked into larger cinemas and offered a superior projection and sound experience in addition to the other roadshow amenities. Although Fiddler’s distributor, United Artists, elected not to promote the film’s presentation tech details, it is believed that some of Fiddler’s roadshow presentations were presented in 70-millimeter (blown up from 35mm anamorphic) and all of the film’s reserved-seat presentations featured stereophonic sound: 4-track for 35mm prints and 6-track for the coveted 70mm prints.
Fiddler’s anniversary offers an opportunity to namedrop some once glorious cinemas, to provide some nostalgia for those readers who saw the film during this phase of its original release, and to reflect on how motion picture exhibition trends have evolved over the decades.
Opening Date YYYY-MM-DD … City — Cinema (duration in weeks)
- 1971-11-03 … New York — Rivoli (58)
- 1971-11-05 … Los Angeles (Beverly Hills) — Fox Wilshire (58)
- 1971-11-10 … Boston — Cheri 1 (11)
- 1971-11-10 … Boston — Cheri 2 (37)
- 1971-11-10 … Chicago — McClurg Court (57)
- 1971-11-10 … Denver — Aladdin (57)
- 1971-11-10 … Detroit (Southfield) — Northland (57)
- 1971-11-10 … San Francisco — Golden Gate 1 (57)
- 1971-11-10 … Toronto — University (57)
- 1971-11-10 … Washington — Uptown (57)
- 1971-12-14 … Atlanta — Atlanta (22)
- 1971-12-14 … Baltimore (Randallstown) — Randallstown Plaza (26)
- 1971-12-14 … Buffalo (Amherst) — Plaza North (26+)
- 1971-12-14 … Cincinnati — Valley (34)
- 1971-12-14 … Cleveland — Colony (52)
- 1971-12-14 … Dallas — Cine 150 (26)
- 1971-12-14 … Houston — Tower (52)
- 1971-12-14 … Indianapolis — Circle (26)
- 1971-12-14 … Kansas City — Midland 1 (33)
- 1971-12-14 … Miami (Miami Beach) — Sheridan (38)
- 1971-12-14 … Milwaukee — Southgate (52)
- 1971-12-14 … Minneapolis — Academy (43)
- 1971-12-14 … Montreal — Place du Canada (31)
- 1971-12-14 … New Orleans — Cinerama (36)
- 1971-12-14 … Philadelphia — SamEric (27)
- 1971-12-14 … St. Louis — Cinerama (39)
- 1971-12-14 … Salt Lake City (South Salt Lake) — Century 21 (52)
- 1971-12-14 … San Diego — Loma (52)
- 1971-12-14 … Seattle — Uptown (52)
- 1971-12-14 … Vancouver — Park (52)
- 1971-12-15 … Pittsburgh — Manor (51)
- 1971-12-15 … Portland — Hollywood (53)
- 1972-02-15 … San Jose — Century 21 (56)
- 1972-02-15 … Syracuse — Shop City (20)
- 1972-02-16 … Edmonton — Varscona (51)
- 1972-02-16 … Hartford — Cinerama (38)
- 1972-02-16 … Honolulu — Cinerama (15)
- 1972-02-16 … Las Vegas — Huntridge (10)
- 1972-02-16 … Louisville — United Artists (19)
- 1972-02-16 … New Haven (Orange) — Showcase 3 (20)
- 1972-02-16 … Orlando (Winter Park) — Colony (20)
- 1972-02-16 … Phoenix — Thomas Mall (30)
- 1972-02-16 … Providence — Cinerama (26+)
- 1972-02-16 … Rochester (Henrietta) — Towne 1 (20)
- 1972-02-16 … Sacramento — Century 21 (43)
- 1972-02-16 … St. Petersburg — Gateway Mall (30)
- 1972-02-16 … Springfield (West Springfield) — Showcase 1 (20)
- 1972-02-16 … Toledo — Showcase 1 (20)
- 1972-03-14 … Orange — Cinedome 21 (56)
- 1972-03-15 … Calgary — Palliser Square 1 (20)
- 1972-03-15 … Charlotte — Park Terrace (12)
- 1972-03-15 … Dayton — Dabel (26)
- 1972-03-15 … Des Moines — Fleur 2 (15)
- 1972-03-15 … Omaha — Admiral (50)
- 1972-03-15 … Ottawa — Nelson (37)
- 1972-03-15 … Winnipeg — Kings (33)
- 1972-03-17 … Jacksonville — Edgewood (10+)
- 1972-03-22 … Memphis — Crosstown (12)
- 1972-03-22 … Norfolk (Virginia Beach) — Pembroke (10+)
- 1972-04-26 … Reno — Century 21 (10)
- 1972-04-26 … Richmond — Willow Lawn (11)
- 1972-05-24 … Wichita — Boulevard (17)
- 1972-06-21 … Long Island North Shore (Woodbury) — Cinema 150 (25)
- 1972-06-21 … Long Island South Shore (Woodmere) — Five Towns (20)
- 1972-06-21 … Newark (Paramus) — Paramus 2 (20)
- 1972-06-21 … Newark (Upper Montclair) — Bellevue (25)
- 1972-06-28 … Des Moines — Fleur 4 m/o (14 [29])
- 1972-06-28 … Oakland — Century 21 (25)
- 1972-07-12 … Richmond — Westhampton m/o (5 [16])
- 1972-08-04 … Calgary — Palliser Square 2 m/o (17 [37])
- 1972-10-04 … Concord (Pleasant Hill) — Century 21 (19)
- 1972-10-04 … Des Moines — River Hills m/o (5 [34])
- 1972-12-14 … Salt Lake City (South Salt Lake) — Century 23 m/o (14 [66])
It should be noted the engagements cited above represent only a fraction of the thousands of total bookings throughout the many cycles of distribution over the course of Fiddler’s release. As such, this work does not include any of the film’s reserved performance (i.e. modified roadshow), general release, second-run, re-release, etc., nor does it include any international engagements.
A roadshow policy was implemented on Fiddler’s initial release in key overseas markets as well (London, Paris, Sydney, Tokyo, etc.), but researching and citing all of them is beyond the scope of this work.
THE Q&A
Greg Carson is a producer/editor and former Executive Director of Worldwide DVD Production at MGM.
Matthew Kennedy is the curator and host of the CinemaLit Film Series at Mechanics’ Institute San Francisco and the author of Roadshow! The Fall of Film Musicals in the 1960s (Oxford University Press, 2014). His other books include Joan Blondell: A Life Between Takes (University of Mississippi Press, 2007), Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy (University of Wisconsin Press, 2004), and Marie Dressler: A Biography (McFarland, 1999).
The producer of numerous John Williams expanded soundtracks, Mike Matessino produced, restored, edited, mixed, mastered and annotated the Fiddler on the Roof expanded soundtrack release from La-La Land Records.
Daniel Raim is the producer/director of the forthcoming Fiddler’s Journey to the Big Screen. Notable among the documentary filmmaker’s numerous other works are Image Makers: The Adventures of America’s Pioneer Cinematographers (2019), Harold and Lillian: A Hollywood Love Story (2015), and the Oscar-nominated The Man on Lincoln’s Nose (2000).
Alisa Solomon is Director, Arts & Culture MA, Graduate School of Journalism at Columbia University and the author of Wonder of Wonders: A Cultural History of Fiddler on the Roof (Metropolitan Books, 2013). Other works include Re-Dressing the Canon: Essays on Theater and Gender (Routledge, 1997), and her website is alisasolomon.com.
The interviews were conducted separately and edited into a “roundtable” conversation format.
Michael Coate (The Digital Bits): How do you think Fiddler on the Roof ought to be remembered/celebrated on its 50th anniversary?
Greg Carson: Fiddler remains relevant and inspirational on its 50th anniversary. It will be remembered for its handling of the stories with love and care. Taking its inspiration from the stories of Sholem Aleichem, the play and then film was transformative for the Jewish families that have had real world experiences with these ideas of tradition, faith and the breaking down of those traditions. Fiddler dealt with a very serious subject with humor and memorable songs. A film that shows family and love can withstand any obstacles.
Matthew Kennedy: I hope Fiddler on the Roof is remembered as a very fine and enduring work of popular entertainment. Of all the big musicals at the end of the roadshow era, this one ages the best. If anything, it looks and sounds better today than it did fifty years ago. The music, the visuals, the story that’s so specific yet moves people throughout the world. Humor, heartbreak, memorable songs, big themes, and moral lessons—Fiddler has it all.
Mike Matessino: Fiddler on the Roof is timeless, and it doesn’t feel like it’s aged. So there’s a lot to celebrate. It should simply be remembered as one of the best Broadway musical adaptations ever made and a great classic movie.
Alisa Solomon: At an appointed time, everyone all over the world who has ever loved the show or the movie should amass in the streets and sing L’Chaim, honoring and expressing solidarity for each other’s life-force and mutuality, which persist despite socio-political and epidemiological inequities and horrors.
