Review: FIDDLER ON THE ROOF at Diamond Head Theatre

Diamond Head Theatre’s 2026-2027 season opener Fiddler on the Roof packs a powerful punch, and marks the first time this timeless classic has been mounted at DHT. Co-directors David Weaver and Roberta Stephens Satori have lovingly recreated the legendary Jerome Robbins’ original choreography, and imbued the show with tons of heart, as well as a chilling reminder of how the troubles of Anatevka still echo into the present.

The impressive set, designed by Deanne Kennedy, transforms seamlessly from interior to exterior scenes, utilizing ingenious double-sided pieces that can be moved independently. Lighting by Janine Myers was an excellent complement. As the house lights dimmed, however, I was instantly wrenched out of the moment by the jarring use of an AI-generated voice for the pre-show announcements. With such a wealth of talent available within the cast, it is disappointing and incomprehensible why DHT would choose to use AI instead, especially considering how prevalent the theme of “tradition” is to Fiddler on the Roof. Luckily, the cast and orchestra more than made up for that questionable choice, as the theatre filled with the joyous strains of Jerry Bock’s delicious score and Sheldon Harnick’s timeless lyrics.

At the center of the action, Garrett Hols does a superb job of playing the beloved town milkman Tevye with a rich, measured roundedness to the character that never strays into shtick. Though the set was minimalistic around him for the iconic solo “If I Were a Rich Man”, Hols more than filled the stage with his resonant voice and superb storytelling. His chemistry with wife Golde (Mary Chestnut Hicks) seemed genuine and vibrant, especially in their duet “Do You Love Me?”. The three daughters at the center of the action were admirably played by Marie Staples (Tzeitel), Salote Vaha’i (Hodel), and Anya Teruya (Chava), as were their respective matches Motel (Kyle Connor), Perchik (Ricky Kozak), and Fyedka (Karsyn Wentzell). Teruya was a the hero of Act 2, stealing the show with her gorgeous ballet in the dream sequence. Connor’s “Miracle of Miracles” was a delight to watch, and he imbued the character with a similar neurotic buzz as his portrayal of Melchior in Spring Awakening earlier this year. I was also very impressed with the town rabbi, perfectly cast with Ron Heller, who hit every beat with impeccable timing. R. Andrew Doan as Tzeitel’s intended husband Lazar Wolf was also a standout, displaying an excellent friendly antagonism with Tevye in their hysterical cow/daughter tête-à-tête and “To Life”. Mark Sanders as the Constable was chilling and perfectly cast, embodying the cruelty and coldness of the impending pogrom. Betty Bolton’s meddling matchmaker Yente was spot-on, and squarely in her wheelhouse. Special mention must also be made to the talented dancers of the wedding “bottle dance”, perhaps the most memorable sequence in any production of Fiddler. Though I wasn’t able to individually identify each dancer, they all deserve recognition for their athletic and precise execution of this challenging number. Finally, scene-stealer and DHT newcomer Jen Brooks as the ghost of Lazar Wolf’s late wife Fruma-Sarah had the audience in the palm of her hand, utilizing every frayed inch of her spectral costume (design by Emily Lane) and soaring vocals to bring this iconic character to life. I certainly hope to see more from her in future productions!

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