Madelyn Davis-Haddad, Gabrielle Goodman, Joey McDaniel, Teagan Murphy, and Brittney Mignano Photo by Scott Lasky

What particularly surprises about Fiddler's success is that it deals with the customs and sad chronicle of Jews, a people who represent a very small minority in this country and who have been unfairly victimized by the dominant religion here and throughout the Christian realm. Also, it takes place prior to World War I in what to many is an obscure region, Imperial Russia's Pale of Settlement (largely present-day Ukraine), a poor area where all but a few select Jews were forced to live.

But what the musical has going for it is a luminous score with brilliant songs that in part trace the stages of love with great sensitivity, a central character that is one of the great charismatic figures in theater, and dramatic clashes of culture––gentle, traumatic, and existential. This story of Tevye the milkman is based on the works of the great Yiddish author Sholem Aleichem. Though many particulars of the story may not be relatable, its universality draws from these powerful themes of tradition, love, family and struggle.

Without hesitation, Fiddler on the Roof opens with a song that extols the trait that binds a community, the lively "Tradition." Among the traditions are those in which a husband and father rules supreme in the family and approves the marriages of his children. This practice is challenged as Tevye's three eldest daughters marry for love and even outside of the faith.

The heart of the story is a veritable interspersed song cycle of love and marriage with beautifully crafted lyrics and melodies that linger in our collective memories. First comes "Matchmaker, Matchmaker," about the intermediary used in many societies to introduce good marital prospects to one another. Soon, "To Life" celebrates a marital match, though it will not come to be. Later, "Miracle of Miracles" relates several fortuitous events in Jewish history but closes with the miracle of the singer and his intended marrying for love. In "Sunrise, Sunset," the heavenly and popular wedding reception song, parents rhapsodize during the wedding ceremony about infants growing into adults. And finally, after 25 years of marriage, Tevye asks wife Golde "Do You Love Me?," which she answers resoundingly with a list of things that she has done throughout marriage that demonstrate her love.

The role of Tevye demands an actor who can command the stage with a dominating yet approachable personality, and great ones like Zero Mostel and Topol have capped their careers playing the part. Joey McDaniel answers the call with faux bluster tinged with the sensitive love for his family and community and the uncertainty of internal conflict between tradition and evolution. It seems every actor playing Tevye rolls his hips and raises his arms to the skies in celebration, and McDaniel got the memo.

As wife Golde, Brittney Mignano beautifully captures a decisive woman always on task, because her life is occupied with responsibility. Despite superficial brusqueness, the compassionate warmth of Mignano's Golde comes through. The three eldest daughters played by Gabrielle Goodman, Madelyn Davis-Haddad, and Teagan Murphy act and sing with charm. Some other players are impressive as well, but there is notable unevenness in both acting and singing elsewhere.

Kudos to director Jennifer Copaken, as this is a major production with many moving parts. The scenic design by Kevin Davies is spare at any one time but involves many changes, many major elements, and many props (Greet Jaspaert). Another standout is Noah Price's lighting, which is active and purposeful.

The look that fills the stage is the costumery by Giselle Lebedenko, mostly peasant garb. The most striking are colorful costumes including anthropomorphized animals during "Tevye's Dream." Another striking visual aspect is the choreography of traditional Jewish and Slavic dance styles, befitting the music, although sometimes it results in a bit of stage clutter. As if the director doesn't have enough to do, Copaken is also responsible for the appealing choreography.

Sitting behind me at the performance was a young theater critic who audibly gasped at one of the incidents in the play. I later learned that he hadn't seen the play or the movie of Fiddler (despite being Jewish!), so he was surprised at something that I expected. At my age, I assume everyone knows this one. After the show, I heard a man questioning whether the treatment by authorities in the play was exaggerated. It's sad that such ignorance of the horrors of hate and discrimination exists, and this only reinforces the need for the arts to play its role by informing people of humanity's wickedness.

In any case, for both first timers and those who are already familiar, this Fiddler on the Roof is a pleasure to behold.

Fiddler on the Roof runs through November 24, 2024, at Palo Alto Players, Lucie Stern Theater, 1305 Middlefield Road, Palo Alto CA. For tickets and information, please visit https://paplayers.org.