Up for Review: American Theatre Guild presents “Fiddler on the Roof” at the Morris Performing Arts Center

“Fiddler on the Roof” is known for its high stakes story of oppression and changing tradition in a village that has never known change, but also its heartwarming and comedic performances. American Theatre Guild’s presentation of “Fiddler on the Roof” had all of that and more for my first ever viewing of a professional performance of one of my favorite shows of all time.

On a personal note, I started to tear up at the beginning of “Tradition” and I had to go through at least seven layers of my psyche to figure out why. “Fiddler on the Roof” was one of the first ever performances I was in as a child in a knockoff Jr. version of the show. I played Golde and I was super cute, obviously. However, I looked back at the local children’s performance back in Elkhart, IN and I realized that that show was the inciting incident for me. Now I’m here, 11 years later, working press for a show that meant so much to me as a child and jumpstarted my love for theater that has set the stage for my career. You would cry too, believe me.

However, the show opens up with an outpouring of sound from the ensemble with the number best known in the show: “Tradition.” You can see the tradition of old Jewish culture across the entire stage, with dance and even prayer movement that rings true to the culture that we can all still recognize due to the renown of this show.

I was immediately blown away by the acting chops of Jonathan Hashmonay playing Tevye, lighting up the stage with both his humor and stereotypical “dad behavior.” His acting skills set the tone for the show and allowed for other actors to play off his antics as well as his more serious moments.

It’s not until “If I Were A Rich Man” that we get to experience all that Hashmonay has to offer with his singing chops as well. It was a performance that held all the emotion that many poor people have and have had in the past as well as the humor that the song needs to not be a bummer.

As far as I am concerned, this production of “Fiddler on the Roof” is Hashmonay’s show.

However, this show would not be the samwe without the chaos and light that is Tevye’s five daughters. “Matchmaker” is always the perfect way to show how strong all the ladies in the show can shine, and this performance did that. Randa Meierhenry who plays Tzeitel had one of the strongest “musical theater” voices in the show and proved that she was worthy of playing the inciting incident of the show.

I also wanted to give props to Graceann Kontak who plays Hodel in the show. Her performance in “Far From the Home I Love” was operatic and beautiful, making me cry and feel all the emotion that Hodel has when deciding to leave her hometown for the one she loves.

Another character that struck my heartstrings was Daniel Kusher who played Motel. He nailed the awkward character perfectly, and had one of the best voices I had heard live when performing “Miracle of Miracles.”

Mary Beth Webber as Yente also played into the ridiculous humor of her character and wowed me in “The Rumor” as the troublemaker she is set up to be.

A standout scene that has always been one of my favorites did not disappoint in the large group number “To Life.” Every character truly felt joyous and carefree with the juxtaposition of other serious themes happening in the show, livening up Act One.

“Tevye’s Dream” was also more bizarre and wacky than I could have imagined, which made me very happy. With elaborate costumes and the effect on Fruma-sarah in the dream, it pulled together the weirdness of “Fiddler on the Roof” that rings true throughout the show.

While the comedic and weird definitely make an impression throughout the first act, it cannot be overlooked by the dramatics and sadness of the second act. Watching people getting forced out of their homes due to religious politics only rings more true when the cast reminded the audience at the end during bows that these problems are still occurring in the same place that the musical is set in.

The last two numbers of the show, “Anatevka” and “The Leave-Taking” put a pit in your stomach knowing the strength and courage that real Jewish communities had to have to pack up their belongings and leave due to intolerance from many of their home villages. During “Anatevka,” Tevye comments that maybe they always have their hats on because they are always leaving somewhere. When you think about the sentiment behind that, it’s horrifying.

Another emotionally striking moment is when Tevye is grappling with his idea of faith and tradition when dealing with Chava’s marriage to a man of a different faith and excommunicates her from the family. You can see the pain behind the character of seeing his daughter abandon the religion he has taught her since her youth and seeing all the morals he taught her disintegrate because of love. While this sets an ominous tone for Tevye’s character, it makes for a more heartwarming end when he wishes Chava blessings before they leave for America, displaying his true character.

I think the overarching theme that audiences can take from this show is the hardships of oppression and the everchanging weight of holding onto your religion when circumstances that challenge it are around every corner. This is why “Fiddler on the Roof” is still so important today: it speaks to the evolution of our morals and choosing between opinion and faith or the love of our family.

As the show ends with the villagers leaving the village with just a white background behind them, symbolizing the unknown before them as they leave all they have ever known, the audience is filled with this sense of pain in the oppression of others as well as hope that they find peace wherever they settle next.