Review: A FIDDLER For Our Time at the Alliance Theatre
The union of the Atlanta Opera and the Alliance Theatre runs through October 12th
By: Amanda Theriot-Greenwell Sep. 19, 2025
With so many outlets for theatrical and musical talent in Atlanta, it is a real treat to see two powerhouses come together as one. When it’s the Alliance Theatre and the Atlanta Opera joining forces to produce their current run of the classic Fiddler on the Roof, it’s a blessing beyond measure.
The story, based upon a collection of stories by Sholem Aleichem, follows the simple and religion-centered life of Russian Jew, Tevye, his wife Golde, and their bevy of daughters (five!), all set against the backdrop of their small village of Anatevka. It is a charming, slice-of-life musical where work is done, drinks are shared, and children grow and marry, and also a deeply thoughtful look at how our lives are shaped by traditions we hold dear. With a book by Joseph Stein and classic tunes by Jerry Bock and Sheldon Harnick, this show is familiar, yet the staging at the Alliance gives it a distinct breath of fresh air.
Audiences arriving at the theater are first greeted by a hulking set piece dominating the stage for the entirety of the show- a circular structure of beams and ladders that is reminiscent of both a globe and a cage. Scenic designer Alexander Lisiyansky is to be commended for this insular world he creates where the Jews of Anatevka are literally contained, even looked down upon by both the audience and the non-Jewish Russians on a dais towards the back.
The careful lighting (designed by Thomas C. Hase) and well-balanced orchestration and sound design (Dan Moses Schreier) also immerse the audience in the period piece, both on-stage and off. Characters even perform in the audience and balcony too - most famously, the titular fiddler, here played by Kylie Dickinson. Yet even so, there is not a bad seat in the house, and even those in the back row were treated to Nicholas Hussong’s beautiful projections throughout the show.
The cast is, of course, led by Tevye, stunningly played by Itzik Cohen. A well-known figure from stage and screen in his native Israel, Cohen shows pinpoint precision when it comes to striking the perfect balance of comedy, rustic charm, and heavy emotion. Even more dazzling is his baritone and the impressive vocal control that displays talent and sensitivity in pieces both humorous and heartwrenching.
Tevye is incomplete without his wife Golde, and she is a force to behold in Tony Award-winner Debbie Gravitte. It’s easy to categorize the longsuffering Golde as a standard Jewish mother stock figure; she is, of course, superstitious and overbearing and slightly prone to guilt tripping. But the vulnerable moments that Golde breaks into are where Gravitte shines and makes the audience love her just as Tevye does.
Their three eldest daughters - Amanda Fallon Smith as Tzeitel, Mia Pinero as Hodel, and Maya Jacobson as Chava - each shine as actors in their own right, and their voices are a beautiful blend together, especially in the classic “Matchmaker.”
The ensemble is filled with talent and provides small glimpses of life in Anatevka throughout the performance. The marriage (forgive the pun) of Atlanta Opera and Alliance Theatre really stands out during the dream sequence, where Vita Tzykun’s costumes and Lindsey Ewing’s wigs and makeup only add to the ensemble’s fantastic performance.
Standouts among the cast are Joanna Daniel’s riotous Yente (who, despite being one of the oldest characters, makes some of the bawdiest jokes) and Coby Getzug’s tailor Motel, whom the audience can’t help but feel joy alongside during his celebratory, “Miracle of Miracles.”
With the combination of familial drama and homespun emotion, Fiddler on the Roof was a perfect choice for the Alliance and Atlanta Opera to come together on. It was a fresh take, and elements of both theatrical groups were both made apparent and blended well.
Despite having seen the show multitudes of times on stage and screen, it was an altogether unique experience, with inspirational choices made in the performance as well as the staging. Under Tomer Zvulun’s direction, this version of Fiddler is more raw, even at times heavily violent, but it is a change that may be necessary in these times when the issues of tradition and faith can still incite violence.
It is important to note that some performances of this run of Fiddler on the Roof include talks before and after the performances exploring the elements of Judaism, history, and antisemitism in the show and modern culture, many led with help from The Bremen Museum and Cultural Center.
It’s obvious that the cast, crew, and creative teams all have paid careful attention to such issues in their staging (prayers are in Hebrew, bites are blessed, and there’s even a blink-and-you’ll-miss-it ketubah signing), yet the appeal of Fiddler on the Roof goes far beyond one people group. The central focus of the show -family, faith, progress, and how all of those intertwine - is a universal message that is timeless. Even being over sixty years old, Fiddler on the Roof still has a place on stages today.
Performances have been extended at the Alliance through October 12th.
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