By Liz Eichler, ATCA
Cincinnati Opera’s Fiddler on the Roof is, to borrow a phrase from the show, a “wonder of wonders.” This collaboration between some of Cincinnati’s most prestigious arts institutions—Cincinnati Opera, Cincinnati Symphony Orchestra, and Cincinnati Ballet—is both a celebration of musical theatre and a triumph of theatrical storytelling.
But First, the Plot
Set in the small village of Anatevka in early 20th-century Russia, Fiddler on the Roof follows Tevye, a poor Jewish dairyman, as he struggles to uphold traditional values while raising five daughters in a changing world. As each daughter challenges the custom of arranged marriage, instead seeking love, Tevye must reconcile his deep faith with the pull of progress. Meanwhile, rising political unrest and anti-Jewish sentiment threaten to uproot the entire community.
Fiddler on the Roof is based on the stories of 19th century writer and Rabbi Sholem Aleichem, who wrote–in Yiddish versus Hebrew–about what he observed growing up in a small Ukrainian town. First produced in 1964, it won 9 Tony Awards. It was directed and choreographed by Jerome Robbins and starred Zero Mostel as Tevye. According to Playbill Vault, Bea Arthur, and Bert Convy were also in the cast.
Cincinnati Opera Showcases the Music of Fiddler
Conductor Levi Hammer really showcases the music of Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein. I had goosebumps many times, teared up at others, and had some hearty laughs. From the richness of the house reverberating with the chorus of “Tradition” to the doleful yet militant drums at the end, you will appreciate the technical prowess of this professional performers. The symphony orchestra delivers every note with precision and great energy.
Design and Direction Deepen the Story
Stage Director Crystal Manich and choreographer Michael Pappalardo bring a new vision to make the show fresh. From the moment the curtain rises, the striking imagery of the staging deepens the emotions of each scene. Particularly memorable is the “Matchmaker” number, where silhouettes of young girls playing outside are juxtaposed with the older sisters inside the house, acknowledging the tradition-bound lives which lie ahead.
Other standout scenes demonstrate the team’s creative force. “Tevye’s Dream” is a thrilling, otherworldly spectacle, led by Sarah Folsom’s commanding Fruma Sarah. (The pearls!) “Chavaleh (Little Bird)” is staged with remarkable tenderness and danced with poignant grace, becomes a moving moment of both joy and foreboding.
Scenic designer Andrew Boyce frames the action with an intentionally asymmetrical wooden structure, evoking rustic simplicity and handiwork. The village pieces evolve throughout the performance. By the end, it transforms into a haunting pile of discarded furniture, visually echoing their discarded traditions and past.
Costume designer Chad Phillips fills the stage with rich textures, colors, and layers. There’s cultural specificity and personal specificity. There’s bright and vibrant colors in the wedding, and eerie black, white and grey of the dream sequence. The muted tones of the final scene call to mind the grainy photographs of early 20th-century immigrants leaving their homelands in search of hope.
To Lights, To Lights…
Lighting by Thomas C. Hase is a star in its own right. One scene will be with me forever–during “To Life” where front lighting casts shadows, blending and blurring on the backdrops, mimicking the characters’ descent into intoxication. It’s a subtle but powerful use of the depth and width of Music Hall’s Springer Auditorium stage. Another clever use of lighting is when we see the family lighting the Sabbath candles, echoed by the rest of the village. Manich, Boyce and Hase demonstrate a shared and solid vision, melding the grandiosity of opera with the needs of the production.
Operatic Voices
Max Hopp’s Tevye brings warmth and humor and to the role, moving seamlessly from booming baritone to a soft tenor in moments of vulnerability. Victoria Livengood’s Golde offers grit and grace, particularly in the tender “Do You Love Me?” duet. Her operatic mezzo blends well with Hopp’s more Broadway style delivery.
Arnold Livingston Geis makes a memorable Motel. He contrasts the awkwardness of a humble tailor with the bursting courage of his booming baritone. We just like him! We cheer when Motel and Tzeitel finally are granted Tevye’s blessing.
Simon Barrad’s Perchik delivers conviction and an impressive vocal finish–especially in his final notes to his love. The entire cast, down to the youngest ensemble members, brings energy and authenticity. (One youth in a red shirt during the wedding scene truly understands the assignment!)
Special mention to Jim Hopkins as the Constable. He doesn’t solo, but gives a performance that shows the uneasy coexistence of oppression and familiarity. He boldly plays the righteous antagonism which minority groups must live with every day.
Tradition… and Navigating Change
The heart of Fiddler on the Roof lies in its exploration of tradition, change, and the tension between the two. This production leans into those themes with care and insight, supported by lines that resonate deeply in our current moment:
“If we didn’t do anything wrong, why are we in trouble?”
“There is trouble in the world—and troublemakers.”
These moments, delivered with honesty, remind us that the questions of Anatevka are still being asked today.
Can We Expect More Musical Theatre from Cincinnati Opera?
The audience wasn’t just the regular opera-going crowd. Quick conversations during intermission yielded evidence that this production is attracting patrons who have never been to the opera nor seen Fiddler on the Roof. I hope this matchmaking continues. What other musicals could benefit from showcasing the music? West Side Story? South Pacific?
Overall: Fiddler is a Rich Experience for Everybody
Cincinnati Opera’s Fiddler on the Roof is a match made in musical theatre heaven. With top-tier performers, stunning production values, and a message about family, values, and navigating change.
If you can get a ticket, do. L’chaim—to life! Click HERE for the Box Office.
Performances: July 23, 25, 26 at 7:30 p.m. | July 27 at 3:00 p.m.
Location: Springer Auditorium, Music Hall
Presented by: Cincinnati Opera | Featuring the Cincinnati Symphony Orchestra, Cincinnati Ballet, and Cincinnati Opera Chorus
Run Time: 3 hours 20 minutes (including a 30 minute intermission)
