Review: FIDDLER ON THE ROOF at the Cincinnati Opera

For those lucky enough to be walking by Cincinnati Music Hall at certain times this week, they may see a fiddler perched upon the rooftop. Over a hundred feet in the air, the musician shares a performance to mark the beginning of an incredible evening. The Cincinnati Opera is famous for their extravagance, and their current production of Sheldon Harnick’s and Jerry Bock’s 1964 musical Fiddler on the Roof goes beyond all expectations. To conclude their 2025 season, the esteemed company breaks away from the traditional operatic works to showcase this classic musical that once held the record for the longest-running Broadway show. The Springer Auditorium was completely sold out on opening night, and those present for it came out singing its praises.

While Fiddler on the Roof has been a popular choice for theatres all around to produce for the past several decades, over time it has proved an incredibly difficult show to do justice to both the material and the context around it. Originally the show felt risky, and critics were worried it may be unrelatable for mainstream audiences or that it would be portrayed as too superficial when considering the real life context that inspired it. Nevertheless, it found huge success, winning nine Tony Awards, being the first Broadway musical to surpass 3,000 performances, and being adapted into a hit movie in 1971. It also continues to be a household title to this day. But the show works best when it’s done as authentically and considerately as possible, implementing a strong respect for the Jewish heritage. Those who commit to doing the show need to do it without falling into any stereotypes, taking seriously the characters and the situations they’re in. It’s comforting to know that Cincinnati Opera partnered with the Jewish Federation of Cincinnati for this production and are also hosting a Jewish community matinee during its final performance, putting in the work to represent these voices properly.

Seeing Fiddler on the Roof in 2025 also reflects many disturbing things happening around the world in the present day, particularly the realities of those living under authoritarian rule being terrorized by those in political power simply due to race, being stripped of their human rights and their communities. Whole areas are evicted and evacuated from the only homes they’ve ever known, forced to find refuge in places that may or may not accept them. Despite the story’s events taking place around the turn of the 20th century, it’s eerily similar to what is seen in current news around the world. At the same time, it’s great to see the celebration and pride of Jewish culture, and those outside the faith can still connect their own experiences as well. The show’s universal themes speak to many, with the most prevalent being the balance of following tradition and embracing new evolutions, in addition to finding hope and optimism among loss and oppression.

The Cincinnati Opera carefully selected a cast for Fiddler on the Roof that featured strengths in both musical theatre and classical music, bringing in a roster of professionals for many roles and sourcing local actors for others. Acclaimed opera singer Arnold Livingston Geis shines as Motel, giving a superb performance as an awkward man with a heart of gold while also demonstrating his impeccable vibrato in his solo “Miracle of Miracles” during a happy moment. Meanwhile, Cincinnati vocalist Sarah Folsom, who specializes in musical theatre, shows off her comedy skills as Fruma-Sarah in an over-the-top dream sequence.

The rest of the Fiddler on the Roof cast is incredibly strong, but actor Max Hopp brings a special nuance to the iconic role of Tevye that is rarely seen on stage. In the study of film genre, there is a term known as revisionism, where standard assumptions of type are subverted and instead go against the status quo, and that is exactly what’s happening here. Staying true to the script, the role is reinterpreted to explore different facets of his personal expression. Often portrayed as brash, bold, and boisterous, Hopp steps away from the usual caricature and plays Tevye with a more subtle approach. For example, his take on the classic tune “If I Were a Rich Man” rings relatable with his small and giddy movements as he expresses his wishes of comfort and leisure. He finds humor in many of the frustrating and awkward positions his character finds himself in while always staying grounded. He faces many moments of internal conflict, especially as he is challenged further and further across the story, and his anguish is felt. He remains flawed and complicated throughout his growth, just like any human would be. And he never assumes himself as the main character in his world, just as a loving father and husband and the head of his household, as the customs state him the right to be.

Director Crystal Manich heavily focuses on the community of Anatevka in this production of Fiddler on the Roof. On a base level, Cincinnati Opera used its resources to cast a large, talented ensemble to fill the stage and populate the village. This is particularly prevalent in numbers like “Tradition” and “Sunrise, Sunset”, as the sheer quantity really emphasized the amount of untold stories within the world of the show, each facing their own struggles and living their daily lives. This concept of parallel activity is directly shown during songs like “Matchmaker, Matchmaker." As the three eldest sisters sing about their potential future husbands, the two youngest are playing outside with only their silhouettes shown, creating a truly beautiful moment that reflects the theme of growing adolescence. This use of lighting is also displayed in “To Life”, a rowdy and lively bar song, as the ensemble feels bigger than it is with massive shadows dancing along on the back of the set. Showing several other households during the “Sabbath Prayer” is powerful too, as it provides a peek into families all sharing their faith at the same time in their own spaces.

Cincinnati Opera’s Fiddler on the Roof has proved to be a triumph. No matter if audience members are going in as fans, skeptics, or even blind to the story, this production can be appreciated by anyone. Fiddler on the Roof runs through Sunday, July 27th, 2025 at Cincinnati Music Hall. Tickets are on sale at cincinnatiopera.org or through the link below. Visit the website for more information on the newly announced 2026 opera season which features Strauss’s Salome, Bizet’s Carmen, Orpheus and Euridice by Ricky Ian Gordon, and the world premiere of Kevin Day’s Lalovavi.