“How do we keep our balance?”

Posed in the very first moments of Fiddler on the Roof, this question receives an emphatic answer – Tradition! – by way of a high-energy opening number that immediately transports the audience into the heart of the 1900s Jewish-Russian village of Anatevka. Yet, as the story unfolds, keeping our balance proves easier sung than done. The show follows milkman Tevye, his wife Golde, and their five daughters as they navigate love, family, faith, and the growing tension between honoring tradition and embracing change.

Wonderfully directed by L. Walter Stearns, Music Theatre Works’ production brought this struggle for balance to life with both humor and heart to North Shore Center for the Performing Arts.

Sam Nichison perfectly portrayed Tevye’s nuance and conflicting motivations, shifting from scene to scene. At times, his bitterness over poverty and hardship bubbled to the surface; at others, he offered moments of genuine warmth and authenticity with his family. Alongside him, Golde, played by Mitzi Smith, was his perfect match – grounded and witty, with tenderness beneath her no-nonsense exterior. Together, they perfectly anchored both their family and the story.

Standout vocals seemed to run in the family, as Tevye and Golde’s three eldest daughters (Tzeitel, Hodel, and Chava played by Madison Uphoff, Elissa Newcorn, and Madison Jaffe-Richter, respectively) were each showstopping in their own respects. “Matchmaker, Matchmaker” was one of the rawest numbers of the show; all three actresses sounded excellent while also selling the charm of a true sisterly moment.

Visually, this production did it all. The simple and flexible set design (Bob Knuth) transported us through Anatevka, shifting seamlessly from humble home to wedding venue to dreamscape. The lively feeling behind every scene, as well as the fluidity in these transitions, could not have been achieved without the townspeople. The ensemble didn’t just inhabit spaces on a stage – they made the stage their village, filled it with energy, and created a sense of community that stayed with you throughout the production.

The Bottle Dance Dancers: (L to R) Daniel Hurst, David Sommer, David Geinosky, Erol Ibrahimović and Alex Villaseñor, in FIDDLER ON THE ROOF, presented by Music Theater Works.

This sense of community was never more evident, however, than in the choreography. Under Marla Lampert’s direction, the musical numbers incorporated traditional Yiddish and Russian styles with the grandeur and expressiveness of musical theatre. The athleticism and precision needed for any of these styles cannot be understated, but Jake Mickel, Daniel Hurst, Alex Villaseñor, and Erol Ibrahimović deserve special praise for their performances as Russian dancers. “Sunrise, Sunset” in particular radiated warmth, joy, and (yes) tradition, creating the true feeling of a Jewish wedding on stage. Achieving such a level of intentionality with a full ensemble on stage at once is hard enough, but Lampert was equally successful in conveying larger-than-life emotions in more intimate moments, such as in “If I Were a Rich Man” and “Miracle of Miracles.”

Musically, the pit orchestra was outstanding, but I’d be remiss if I didn’t shout out the titular character. The Fiddler’s (Emily Fischer) live violin stood out without needing to be up on the roof, adding an almost magical thread throughout the show. Sometimes playful, sometimes haunting, always essential; each appearance drew you in and made the village of Anatevca feel complete.

If there was one aspect of the production that occasionally pulled me out of the time and place, it was the moments of inconsistency in line delivery. The genuine connection across the cast shone through and added immensely to the show but occasionally tipped their quips and banter into a contemporary rhythm that felt a shade too casual for Anatevka’s early 1900s setting. It’s a small quibble in a production otherwise so committed to transporting the audience.

That said, what ultimately makes Fiddler on the Roof so enduring is its timeless resonance. You don’t have to share in Tevye’s traditions to understand the fear of losing something so precious, or the complex joy of watching someone you love – be it one of your five daughters or a friend – step into a new chapter.

The creative team understood the timelessness of this story deeply. In the final moments, the audience wasn’t just applauding strong vocals or impressive dancing; we were applauding our newfound sense of connection. Between the characters, the actors, and the audience. Between a century-old story and our own lives today.

Music Theatre Works' Fiddler on the Roof runs through August 17th at North Shore Center for the Performing Arts in Skokie. Tickets are available at www.northshorecenter.org/series/music-theater-works/.

*This review is also featured on https://www.theatreinchicago.com/!