Douglas Sills (Tevye), Jeremy Radin (Lazar Wolf), and the cast of “Fiddler on the Roof” at Signature Theatre. Photo by Daniel Rader.
There’s a reason “Fiddler on the Roof” has withstood the test of time—not just for those of the Jewish faith, but for anyone seeking to celebrate love, heartbreak, and joyful music. Signature Theatre proudly lifts Jewish voices, radiates joy, and honors thousand-year-old traditions in marvelous fashion in director Joe Calarco’s take on this musical theatre classic.
…proudly lifts Jewish voices, radiates joy, and honors thousand-year-old traditions in marvelous fashion…
The story centers around dairyman Tevye, his wife Golde, and their five daughters living in the Jewish-Russian town of Anatevka at the turn of the 20th century. Through this family, we closely examine which traditions are worth bending as times change—and which remain embedded in faith.
To highlight the story’s integral familial themes, Calarco sets the stage around a large dinner table, transforming into smaller tables for more intimate scenes, Tevye’s cart, and Golde and Tevye’s bed. One of the exits and entrances features a door into the home—mezuzah and all.
While heavily emphasized in Act One, Calarco’s table motif seems to dissipate in Act Two. After the constable (Davis Wood) shatters the Jewish home at the end of the first act, the traditions Tevye so passionately upholds remain central to the story, driving many characters’ decisions. The initial visual motif, however, feels somewhat abandoned and unfinished. Although the table disappears, the concept of home—and the door as both an invitation in and a symbol of being shut out—remains strong until the final note.
Aside from the somewhat incongruent vision, the technical elements exude the classic “Fiddler on the Roof” experience. Costumes, designed by Ivania Stac, are expertly crafted to reflect the various classes and cultures within the village. Scenic designer Misha Kachman gorgeously evokes elements of Jewish seders across the ceiling of the MAX Theatre. Sarah Parker’s sharp choreography skillfully adapts to the in-the-round staging while honoring traditional Jewish and Russian dances, elevating Jerome Robbins’ iconic choreography for this talented cast. A special kudos goes to Calarco and the Signature staff for engaging not only two dramaturgs (Jen Jacobs and Dani Stroller) but also a Rabbinical Consultant (Rabbi Robbie Schaefer) to ensure customs were portrayed accurately and respectfully.
At the helm of the production is Broadway veteran Douglas Sills as Tevye. Leading the production with swagger and commanding vocals—showcased in his many monologues, “Tradition,” and the crowd favorite “If I Were a Rich Man”—Sills gleefully plays with the audience and confidently guides us through his family’s trials. His Tevye feels warm and familiar in Sills’ capable hands. Countering him is his wife, Golde, played hilariously by Amie Bermowitz. Bermowitz’s candor with Sills and her interactions with the daughters play beautifully into the Jewish mother persona, while she still maintains strength and individuality.
Rounding out the family are Tzeitel (a passionate Beatrice Owens), Hodel (a honeyed Lily Burka), Chava (Rosie Jo Neddy), Shprintze (a wide-eyed Mia Goodman), and Bielke (a joyous Allison Mintz). While we get glimpses of the eldest three daughters beyond their love stories, Neddy’s duality as the sweet yet defiant Chava is striking—particularly in her graceful performance alongside Sills in “Chavaleh.”
Finding love for—and with—Tevye’s daughters are standouts Susan Rome, who delivers perfect comedic timing as Yente; Jake Loewenthal as Motel, whose strong tenor shines in “Miracle of Miracles”; Ariel Neydavoud as the rebellious Perchick, bringing needed intensity to highlight a changing world; and Alex Stone as Fyedka, making a powerful entrance in “To Life.” However, stealing hearts across the board is Jeremy Radin as Lazar Wolf. Radin’s charm and sensitivity have the audience cheering for him. His excellent vocals and expressive physicality command the stage.