Entertainment
How Jason Alexander's 'Fiddler on the Roof' became profitable well before opening night
“Am I still capable of this?”
Jason Alexander has been asking himself this very question while preparing to star in “Fiddler on the Roof” at La Mirada Theatre for the Performing Arts — his first stage musical role in decades.
“I’m 65 years old, playing a character that, if you crunch the math, should be about 40,” he told The Times of taking on Tevye, the show’s devout dairyman. “It’s exponentially harder for me now. I can’t dance the way I used to and my best scampering days may be behind me. I’ve had to assess whether or not I could realistically convey this character’s energy and vitality, and really do the role justice.”
Producers are counting on him to do so, and are pulling out all the stops in the meantime. Running through Dec. 1, the ambitious southeast Los Angeles County production features a rich three-dimensional set, a 34-actor cast performing re-creations of Jerome Robbins’ 1964 choreography and a 19-piece orchestra playing Don Walker’s original orchestrations. Already, it’s all paid off: Eleven days before the first performance, the show broke even, setting records for the theater’s season subscriptions and single-ticket sales — a rare return in today’s regional theater landscape.
Jason Alexander stars as Tevye in a revival of “Fiddler on the Roof” at La Mirada Theatre for the Performing Arts.
(Jason Niedle)
La Mirada Theatre’s “Fiddler” is already in the black partly, of course, because of Alexander’s star power. Playing the protagonist of the beloved musical has been a lifelong dream for the actor, who’s spent his post-”Seinfeld” days directing and performing in stage shows. The closest he’d previously gotten to doing so were the brief talks to replace Danny Burstein in the fifth Broadway revival of the Joseph Stein/Jerry Bock/Sheldon Harnick musical, based on Sholem Aleichem stories about a Jewish milkman’s family, faith and community.
“It’s like it was written for him, and he’s bringing all kinds of colors that I don’t think any other Tevye has ever brought to the piece,” said director Lonny Price of Alexander. The two first met as part of the original Broadway cast of “Merrily We Roll Along” in 1981. “People will expect him to be funny in this, which he is, and he’s always been a great singer and dancer. But I think the thing people will take away from this is his range, and his real skill as a dramatic actor. In this role, he’s as equally moving as he is funny.”
This “Fiddler” staging is a return to its original form at Alexander’s request, albeit a costly one. “I love the piece so much, and I wanted the full flavor bouquet of what was intended, and I was concerned that anybody who said they wanted to do it was going to do it on the cheap,” he said.
For example, “It’s so hard these days with the economics of theater to get a large company of actors onstage, but I knew that if you tried to do this with less than, say, 30 people, you can’t fill out the stage enough to present a community. But our producers are wonderful, they’ve said yes to everything we’ve asked for.”
While the production is one of the most expensive shows ever staged at La Mirada Theatre, it is also the fastest in the theater’s history to break even and begin turning a profit. It boosted season subscriptions 22% to a new high, and set a new record for a single day’s ticket sales. Altogether, an estimated 29,000 people will attend the production, with 21% of ticket buyers being first-time patrons.
But the production — and its profits — are possible only because of the theater’s unique business model: La Mirada Theatre is the rare regional theater that’s municipally owned and operated, with the city of La Mirada commissioning the initial transformation of an obsolete movie house and continuing to pay its ongoing production costs, thanks to taxes, ticket sales and additional revenue streams like venue rentals.
Jason Alexander, far right, and the cast of “Fiddler on the Roof.”
(Jason Niedle)
“In addition to paying for the venue itself and the entire staff, the city also provides funding for everything in the theater — the actors, the royalties, the musicians in the pit, the props they’re carrying, the microphones on their heads, down to the flowers in the lobby and the ticket stock you’re holding,” explained producing artistic director BT McNicholl.
“Of course, we do have people who donate, but that’s not the bulk of the support,” he continued. With no board of directors to please or annual donor gala to host, it allows you to really focus on the patrons, McNicholl said. “Ultimately, this is the city saying the arts is a public service, and it’s enriching not just the city of La Mirada and its residents but all those in the surrounding Southern California cities that we’re serving as well.”
McCoy Rigby Entertainment — which repeatedly brought Cathy Rigby and “Peter Pan” to Broadway and on the road, and is transferring a “Mystic Pizza” musical to New Jersey’s Paper Mill Playhouse next year — has been hired to stage La Mirada Theatre’s seasons for 31 years and counting. “There’s no having to raise 50% or 60% of our nut through donations and corporate sponsorships,” said executive producer Tom McCoy, “which, in the world of regional theater, is quite remarkable.”
“It’s such a gift to those of us who love the theater — my God, it’s the difference between life and death,” said Alexander of the theater’s operations. His own former theater company, Reprise, operated on a subscriber model, and the base of financial support to sustain it dried up, he said. But at La Mirada Theatre, the community is willing to sign the deficit check.
“They’re saying, ‘We don’t expect you to end the season in profit, just serve the community and make sure they feel like their tax dollars have gone to something worthwhile,’” Alexander said. “I wish that communities everywhere had the benefit of this kind of a funding model. I’m sure it would pay benefits back to the community in triplicate, especially in the areas around the country that are generally underserved in the arts.”
Jason Alexander and Alanna J. Smith in “Fiddler on the Roof.”
(Jason Niedle)
This star-led “Fiddler” came to be because Alexander mentioned his interest in Tevye in a 2022 interview — an article McNicholl shared with producers McCoy and Rigby, the latter of whom worked with him in a 2008 production of “Li’l Abner.” To be turning a profit well before opening night “is encouraging,” said Price, “especially when you ask for something you need, you know that you’re not going to be hurting the theater to get it for you in order to put on the show you want their audiences to see.”
McCoy told The Times that he’s requested production rights to “Fiddler” for a possible sixth Broadway revival. But that transfer is not necessarily Alexander’s goal. In fact, he hopes his turn as Tevye is a reminder to other actors to prioritize productions beyond the Great White Way, or even the immediate city of L.A.
“I will tell you: My manager was not excited about the idea of me doing this role in La Mirada,” he said. “She went, ‘Why are you doing this in La Mirada?’ And I said, ‘Why wouldn’t I do it in La Mirada?’
“To be on Broadway and have a Broadway audience, that’s very exciting — as far as the commercial theater in America goes, that’s our heaven, that’s mecca,” he continued. “But there are audiences that can never get to New York; there are audiences that can’t get to Los Angeles. The idea that they are any less deserving than any other audience? An audience is an audience, and if there’s an audience who wants to see it, and there’s a theater that will invest in it and do it well, it’s worth doing.”
“Fiddler on the Roof” at La Mirada Theatre for the Performing Arts.
(Jason Niedle)
‘Fiddler on the Roof’
Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada
When: 7:30 p.m. Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 1:30 and 6:30 p.m. Sunday; ends Dec. 1.
Tickets: $46 and up
Info: (562) 944-9801, lamiradatheatre.com
Running time: 2 hours, 50 minutes (one intermission)
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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