Review: FIDDLER ON THE ROOF at Signature Theatre

Specific events in the intimate world of Anatevka, Russia are presented in a manner that propels universal understanding of the relevant themes of family, forgiveness, acceptance, and tolerance in the highly immersive and interactive staging of the renowned classic Fiddler on the Roof, now at the Signature Theatre. The engaging ensemble assembled here under the ingenious direction of Joe Calarco, shows why this landmark 1964 musical has spawned so many stage revivals through the decades as well as a magnificent 1971 film. (Based on the Sholem Aleichem stories by special permission of Arnold Perl).

Let’s hope the actors take sufficient doses of vitamin B-12, as this production employs some re-conception (by choreographer Sarah Parker)  of the vigorous choreography originally staged by Jerome Robbins , the powerful music of Jerry Bock and the lyrics by Sheldon Harnick (such beloved songs as “Sunrise, Sunset” and “If I Were a Rich Man” ) and the necessity of moving large components/wooden planks of a large table around the stage as well as dismantling it to make a cart, flower boxes, a table, an inn, and a bed  (highly interactive, theatrical and flexible set design by Misha Kachman –which is perfect for this “theatre-in -the-round” production).

Director Joe Calarco has the task of deciding how to incorporate the messages of this play without being too preachy (or sermonizing), not engaging in any stereotypes (while still portraying the details and rituals of Tevye’s’ family and community in all their intricacy) and deciding on if the production should be more authentically traditional in look or more of a modern style.  This production leans towards a clean , spare “non-fussy” scenic look as well as performances that are not overtly stereotypical ----consequently, the production hits a “middle road” of incorporating the Jewish themes while still appealing to a broader audience with its universal truths of tolerance, faith, forgiveness, and love.

Themes of musings and conversations to God, acceptance of whatever happens to you, belief in community, fate versus prayer, and so forth are prevalent throughout this magnificent musical. However, the traditions and rituals of family continue amidst all obstacles of generational change and oppression.

The strength of this show is the masterly and solid Joesph Stein book which is one of the most well-crafted in Broadway theatrical history. I personally believe that the book may be even better than the Bock and Harnick score. Stein manages to mix deep tragedy with wry humor and sentiment without straining credulity.

Music director Jon Kalbfleisch conducts a superb ten-piece orchestra that is perched atop the second tier of the theatre. The “Fiddler on the Roof” here is enacted by a member of the orchestra, Ms. Jennifer Rickard on violin, as she plays with pathos and a captivating effect.

The rich orchestrations by Larry Blank are variegated and replete with texture and balance.

Douglas Sills as Tevye delivers a portrayal of a more sensitive and self -reflective man (than other Tevyes I have seen) who visibly thinks things through before and after more obstinate misgivings. In fact,  I even detected a slight cerebral bent to this portrayal of Tevye. Mr. Sills is particularly touching and amusing in his rendition of “If I Were a Rich Man” as well as his outspoken musings and conversations with God as in “Tevye’s monologue” and “Tevye’s Rebuttal.” Mr. Sills certainly delivers a new conception of the character quite successfully and this fact deserves commendation.

Amie Bermowitz as Golde exudes a feisty yet comforting maternal warmth especially in her retorts to her family and in the duet “Do You Love Me?”

Jake Loewenthal as Motel the Tailor brings a spirit of euphoric joy to his song “ Miracle of Miracles.”

As the second daughter, Hodel, Lily Burka sings with a piercingly beautiful soprano voice and stands out in her numbers ---“Now I Have Everything” and “Far from the Home I Love.”

Ariel Neydavoud as Perchik, the revolutionary and teacher, is extremely effective and natural in a role that would be strident in lesser hands.

As Yente, the matchmaker, Susan Rome is refreshingly not as cloyingly nosy and colorful as other Yentes I have seen in the role. However, as the musical progressed, her portrayal turned out to be merely strident, haughty, and mean-spirited in effect –there was not even a modicum of charm. This is a detriment to the character since, without any charm, how can the audience believe that the character could cajole anybody?

Each song advances the plot with seamless precision and the appropriate musical, dramatic or whimsical context/texture.

Large ensemble numbers stand out as major components that increase the richness of this production ----“To Life” (L’chaim) expressively and vigorously portrays celebrating the immediate moments of life. “Tevye’s Dream” portrays a bleakly witty and foreboding sense of doom when Tevye and Golde are warned that daughter Tzeitel must marry Motel the tailor in lieu of Lazar Wolf; all stops are pulled out for dramatic effect as the ensemble appears in ghostly guise replete with dire warnings and deathly pallor.

The penultimate ensemble showcase of the production is the hauntingly mesmerizing and meaningful classic “Sunrise, Sunset” sung under a chuppah which is subtly moved around the couple marrying ---soon this ravishingly beautiful song segues into the musically and choreographically complex “The Wedding”. As Motel and Tzeitel are married at a large banquet table, music swells slowly and builds until a fascinating dance occurs with men balancing bottles on their heads and vigorous dancing ensues (however, soon this celebration ends as oppressive Cossacks wreck the wedding with brutal force).

Scenic design by Misha Kachman is creative and functional to the max------aside from the wooden table conception, flowers drop from the rafters, flowers arise when closed tables open up and tall sunflowers bloom in a field.

Costume design by Ivania Stack is replete with earthy colors mixed with vivid colors.

Lighting design by Tyler Micoleau is highly effective without being showy.

This landmark musical anticipates the antisemitism that also appears in the 1966 musical Cabaret. This musical’s relevancy to our current times cannot be underestimated as we see our government fomenting so much hatred toward those who are “ostensibly” different from ourselves.

If you love absorbing classic musical theatre with a message against intolerance conjoined with a love for tradition amidst change----do not miss Signature Theatre’s production of Fiddler on the Roof !! This beloved musical has become reinvigorated for our time.

Running Time: Two Hours and forty minutes with one fifteen-minute intermission.

Fiddler on the Roof runs through January 25, 2026, at Signature Theatre located at 4200 Campbell Avenue, Arlington, Virginia, 22206.