(I mean I guess this is true in most productions, but something about the staging called it to me particularly here.)

The translation sharpens the idea of Khave as dead in all the ways that matter, still breathing or no: Tevye by Stein tells Golde that their daughter is dead to them, but Tevye by Friedman tells Golde they'll sit shiva for her. I found the staging of his repudiation of her stronger and scarier than any version I can remember seeing because it did something incredibly simple but terrifying with the choreography: the movements of the chorus forcing her inexorably offstage, away from her father who has literally turned his back on her, are the same movements of the dance of tradition that at the start of the show she was unthinkingly a piece of, that is now a tide she can't swim against. And that moment at the end where he still can't speak directly to her, but he can tell Tsaytl what to say. It's not like I don't remember her arc packing a punch in the other versions, but it really hit me here.

There's an idea in there that I'm poking at, but we'll see if it comes to anything.

I look forward if it does.