BREathtaking production at act of ct gives new life to fiddler on the roof
By Kiersten Bjork (February 20, 2025)
Fiddler on the Roof, currently playing at A Contemporary Theatre of Connecticut (ACT of CT), is a breathtaking production that gives new life to the iconic show. Due to a family emergency, I was only able to attend the first act, but even without being able to see the conclusion of the production, I thoroughly enjoyed ACT’s rendition of Fiddler. The ACT of CT team has assembled a stellar cast for this one, the company consistently impressing with their vocal and physical skill, as well as the depth of emotion conveyed in their performances.
Based on the Sholem Aleichem stories by special permission of Arnold Perl, Fiddler on the Roof has a book by Joseph Stein, music by Jerry Brock, and lyrics by Sheldon Harnick. ACT’s production is directed by artistic director Daniel C. Levine and choreographed by Josh Assor, though the original New York stage production was directed and choreographed by Jerome Robbins. The choreography for “To Life” and “Wedding Dance” is credited to Jerome Robbins, with restaging by Josh Assor. Bryan Perri serves as the music director at the helm of ten additional credited musicians that bring the gorgeous score to life.
Fiddler on the Roof tells the story of Tevye, a Jewish man and father of five daughters, as he and the people of his village, Anatevka, strive to uphold their traditions and way of life amidst the increasing pressure of the military presence around them, who, at the direction of the tsar, grow more and more threatening as the show progresses. Woven into this struggle are the relationships between Tevye and his wife and daughters. His three eldest find themselves chafing against tradition as they desire to marry for love, diverging from the norm in which their father would arrange and approve their marriages. Fiddler on the Roof explores what it is to love in its many different forms, shining a light on the ever-progressing wheel of change, all the while elevating this Jewish story rooted in history and tradition. Set to a stunning score that features recognizable tunes such as “Matchmaker, Matchmaker,” “If I Were a Rich Man,” “Miracle of Miracles,” and “Sunrise, Sunset,” Fiddler on the Roof is an iconic tale that still holds so much significance and relevance today.
Fiddler on the Roof, currently playing at A Contemporary Theatre of Connecticut (ACT of CT), is a breathtaking production that gives new life to the iconic show. Due to a family emergency, I was only able to attend the first act, but even without being able to see the conclusion of the production, I thoroughly enjoyed ACT’s rendition of Fiddler. The ACT of CT team has assembled a stellar cast for this one, the company consistently impressing with their vocal and physical skill, as well as the depth of emotion conveyed in their performances.
Based on the Sholem Aleichem stories by special permission of Arnold Perl, Fiddler on the Roof has a book by Joseph Stein, music by Jerry Brock, and lyrics by Sheldon Harnick. ACT’s production is directed by artistic director Daniel C. Levine and choreographed by Josh Assor, though the original New York stage production was directed and choreographed by Jerome Robbins. The choreography for “To Life” and “Wedding Dance” is credited to Jerome Robbins, with restaging by Josh Assor. Bryan Perri serves as the music director at the helm of ten additional credited musicians that bring the gorgeous score to life.
Fiddler on the Roof tells the story of Tevye, a Jewish man and father of five daughters, as he and the people of his village, Anatevka, strive to uphold their traditions and way of life amidst the increasing pressure of the military presence around them, who, at the direction of the tsar, grow more and more threatening as the show progresses. Woven into this struggle are the relationships between Tevye and his wife and daughters. His three eldest find themselves chafing against tradition as they desire to marry for love, diverging from the norm in which their father would arrange and approve their marriages. Fiddler on the Roof explores what it is to love in its many different forms, shining a light on the ever-progressing wheel of change, all the while elevating this Jewish story rooted in history and tradition. Set to a stunning score that features recognizable tunes such as “Matchmaker, Matchmaker,” “If I Were a Rich Man,” “Miracle of Miracles,” and “Sunrise, Sunset,” Fiddler on the Roof is an iconic tale that still holds so much significance and relevance today.
The company of Fiddler on the Roof at ACT of CT (ACT of CT)
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Danny Rothman and the company of Fiddler on the Roof at ACT of CT (ACT of CT)
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One of my biggest takeaways from ACT’s Fiddler was the direction, and particularly, the staging. Levine notes in the program that this production does not “follow the ‘usual or expected’ staging of this beloved musical,” emphasizing that ACT’s version centers on the idea of bearing witness. To accomplish this in a physical sense, Levine has the bulk of the actors remain on stage for the majority of the show, surrounding the action of the piece in seating that is reminiscent of an amphitheater. I absolutely loved this choice. While I wasn’t typically focused on the “observing actors” who were not actively a part of the scene, this idea that the community was constantly present, always involved on some level with the different moments of the lives of their family, friends, and neighbors, elevated the story in a way that was truly beautiful. Having this community-based feeling underlying the entire story results in both the joyous and the heartbreaking moments being felt that much more strongly. This choice, brought to life by the talented company of actors, brings the production to another level. Working in tandem with the direction, the choreography is dynamic and packed with visual energy. “To Life” is phenomenal, and the bottle dancers are always a favorite of mine.
Leading the company at ACT is Danny Rothman as Tevye. From his very first entrance, Rothman is fantastic in this role. The voice, the comedic timing, the presence that is at times intimidating and other times doting – Rothman has it all in spades. His rendition of “If I Were a Rich Man” had the audience bursting into immediate applause, and his monologues are incredibly engaging. Opposite Rothman is Jennifer Babiak as Tevye’s wife, Golde. Babiak is fierce and fiery, delivering a strong and proud, yet thoughtful and loving Golde. Babiak and Rothman play off of each other very well, in both the tense and tender moments.
Tevye and Golde’s daughters, Tzeitel, Hodel, Chava, Shprintze, and Bielke, are played by Ariella Serur, Ruthy Froch, Skye Gillespie, Sarah Milnamow, and Cadence Siriani, respectively. Milnamow and Siriani are charming as the youngest daughters of the five. As the eldest, Tzeitel, the first daughter expected to be matched for marriage, Serur is lovely. While she wants to please her father, Tzeitel also wants to follow her heart, and Serur has captured that dichotomy quite well. Tzeitel’s relationship with Daniel Kushner’s Motel is sweet, as is the bond that Serur portrays with their younger sisters. “Matchmaker, matchmaker” gives Serur, Froch, and Gillespie a delightful opportunity to play off of each other, and it is quite fun to watch. Like Tzeitel, Hodel and Chava also walk a fine line between adhering to the traditions of their family versus following their hearts when it comes to love and marriage. Froch is both reserved and passionate as Hodel, dancing back and forth over the line as Perchik shows her that there may be more choices than just the traditional ones. Her moments with Jed Feder as Perchik are filled with an underlying curiosity, and a soft strength that is lovely to see. Similarly, Gillespie’s Chava also balances the family expectation with her own desires. Early on in the show, unlike the women around her, Chava always has a book with her, and she later chooses to hold on to the book offered to her by Fyedka, a man who she has been taught to keep away from. Gillespie skillfully portrays both the dutiful daughter and the inquisitive, bookish young woman who seeks out the potential new path opening up before her. The bond of the five daughters is clear from the moment they enter the story, and I am sure their performances only grow more layered in the second act, particularly in the cases of Hodel and Chava.
Leading the company at ACT is Danny Rothman as Tevye. From his very first entrance, Rothman is fantastic in this role. The voice, the comedic timing, the presence that is at times intimidating and other times doting – Rothman has it all in spades. His rendition of “If I Were a Rich Man” had the audience bursting into immediate applause, and his monologues are incredibly engaging. Opposite Rothman is Jennifer Babiak as Tevye’s wife, Golde. Babiak is fierce and fiery, delivering a strong and proud, yet thoughtful and loving Golde. Babiak and Rothman play off of each other very well, in both the tense and tender moments.
Tevye and Golde’s daughters, Tzeitel, Hodel, Chava, Shprintze, and Bielke, are played by Ariella Serur, Ruthy Froch, Skye Gillespie, Sarah Milnamow, and Cadence Siriani, respectively. Milnamow and Siriani are charming as the youngest daughters of the five. As the eldest, Tzeitel, the first daughter expected to be matched for marriage, Serur is lovely. While she wants to please her father, Tzeitel also wants to follow her heart, and Serur has captured that dichotomy quite well. Tzeitel’s relationship with Daniel Kushner’s Motel is sweet, as is the bond that Serur portrays with their younger sisters. “Matchmaker, matchmaker” gives Serur, Froch, and Gillespie a delightful opportunity to play off of each other, and it is quite fun to watch. Like Tzeitel, Hodel and Chava also walk a fine line between adhering to the traditions of their family versus following their hearts when it comes to love and marriage. Froch is both reserved and passionate as Hodel, dancing back and forth over the line as Perchik shows her that there may be more choices than just the traditional ones. Her moments with Jed Feder as Perchik are filled with an underlying curiosity, and a soft strength that is lovely to see. Similarly, Gillespie’s Chava also balances the family expectation with her own desires. Early on in the show, unlike the women around her, Chava always has a book with her, and she later chooses to hold on to the book offered to her by Fyedka, a man who she has been taught to keep away from. Gillespie skillfully portrays both the dutiful daughter and the inquisitive, bookish young woman who seeks out the potential new path opening up before her. The bond of the five daughters is clear from the moment they enter the story, and I am sure their performances only grow more layered in the second act, particularly in the cases of Hodel and Chava.
Danny Rothman and Ruthy Froch in Fiddler on the Roof at ACT of CT (ACT of CT)
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The company of Fiddler on the Roof at ACT of CT (ACT of CT)
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Kushner is endearing as Motel the tailor. Motel is timid, yet loves Tzeitel, and it is wonderful to see Kushner’s transformation from being unable to tell Tevye about his love for Tevye’s daughter to finally asserting himself and winning her hand. Kushner’s rendition of “Miracle of Miracles” is particularly enjoyable.
Perchik, the progressive young man who ends up teaching Tevye’s daughters, is played by Jed Feder. Right from the start, Feder enters with gusto. Perchik has always been a favorite character of mine, and Feder does an excellent job bringing the enthusiasm and passion that Perchik is grounded in. He is never afraid to toe the line and express what he believes, and Feder plays the role quite well.
Tyler Donovan McCall plays Fyedka, standing out immediately with his solo work during “To Life.” McCall is involved in much of the choreography as well and skillfully balances the physically intimidating aspect of the track with the charm that Fyedka wields when it comes to his relationship with Chava. While I was unable to enjoy the second act, the initial interaction between Fyedka and Chava in Motel’s shop was beautifully done.
Perchik, the progressive young man who ends up teaching Tevye’s daughters, is played by Jed Feder. Right from the start, Feder enters with gusto. Perchik has always been a favorite character of mine, and Feder does an excellent job bringing the enthusiasm and passion that Perchik is grounded in. He is never afraid to toe the line and express what he believes, and Feder plays the role quite well.
Tyler Donovan McCall plays Fyedka, standing out immediately with his solo work during “To Life.” McCall is involved in much of the choreography as well and skillfully balances the physically intimidating aspect of the track with the charm that Fyedka wields when it comes to his relationship with Chava. While I was unable to enjoy the second act, the initial interaction between Fyedka and Chava in Motel’s shop was beautifully done.
Lori Ada Jaroslow and Jennifer Babiak in Fiddler on the Roof at ACT of CT (ACT of CT)
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Val Moranto and the company of Fiddler on the Roof at ACT of CT (ACT of CT)
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A favorite to watch is Lori Ada Jaroslow as Yente, the matchmaker. Jaroslow delivers a delightful performance, bringing out the humor in her needling and gossiping, prattling on about the affairs of those around her. I particularly enjoyed the scene between Yente and Golde where she almost forgets to reveal the potential match that has led her to Golde’s home because she was so carried away with telling her other news. Babiak and Jaroslow opposite each other are excellent.
Lazar Wolf is portrayed by James Zannelli who gives the butcher a boisterous energy that works well. His back and forth with Tevye is quite entertaining, and the performance that Zannelli delivers alongside Rothman in “To Life” is wonderful.
One of my favorite numbers in Fiddler is “Tevye’s Dream,” and I am always curious to see how the production will depict the ghost of Lazar Wolf’s first wife, Fruma Sarah. In ACT’s production, Val Moranto plays Fruma Sarah with a larger-than-life ghostly persona atop a rolling base that gives the impression the ghost is floating around the set. Moranto is aptly wild, passionate, and spooky, her shrieks of warning heightened by the puppetry (Puppet Designer Norvel Hermanovski) employed in the number. Animal heads are paraded around by company members, adding to the haunted nature of the scene, and giving Moranto a perfect setting to leave it all out on the stage.
The Constable is portrayed by Peyton Crim. Crim has crafted an imposing presence for the Constable, his physical choices for the role enough to evoke the nervousness and fear that the character brings with him at every turn in the story.
Rounding out the company are Howard Pinhasik as the Rabbi, Ben Milan-Polisar as the Rabbi’s son Mendel, Emily Qualmann as Grandma Tzeitel, Leeanna Rubin as Shaindel, Luke Sabracos as Mordche/Nachum, Ryan Williams (fight captain) as Avram, Marek Zurowski as Sasha, and John McNeil Johnston as the titular fiddler. The ensemble also features Ashton Lambert, Daniel Pahl (dance captain), Sammy Schechter, and Katie Snyder, with Zoe Mezoff, Samantha Pohly, and Robert Rice as swings.
Lazar Wolf is portrayed by James Zannelli who gives the butcher a boisterous energy that works well. His back and forth with Tevye is quite entertaining, and the performance that Zannelli delivers alongside Rothman in “To Life” is wonderful.
One of my favorite numbers in Fiddler is “Tevye’s Dream,” and I am always curious to see how the production will depict the ghost of Lazar Wolf’s first wife, Fruma Sarah. In ACT’s production, Val Moranto plays Fruma Sarah with a larger-than-life ghostly persona atop a rolling base that gives the impression the ghost is floating around the set. Moranto is aptly wild, passionate, and spooky, her shrieks of warning heightened by the puppetry (Puppet Designer Norvel Hermanovski) employed in the number. Animal heads are paraded around by company members, adding to the haunted nature of the scene, and giving Moranto a perfect setting to leave it all out on the stage.
The Constable is portrayed by Peyton Crim. Crim has crafted an imposing presence for the Constable, his physical choices for the role enough to evoke the nervousness and fear that the character brings with him at every turn in the story.
Rounding out the company are Howard Pinhasik as the Rabbi, Ben Milan-Polisar as the Rabbi’s son Mendel, Emily Qualmann as Grandma Tzeitel, Leeanna Rubin as Shaindel, Luke Sabracos as Mordche/Nachum, Ryan Williams (fight captain) as Avram, Marek Zurowski as Sasha, and John McNeil Johnston as the titular fiddler. The ensemble also features Ashton Lambert, Daniel Pahl (dance captain), Sammy Schechter, and Katie Snyder, with Zoe Mezoff, Samantha Pohly, and Robert Rice as swings.
The company of Fiddler on the Roof at ACT of CT (ACT of CT)
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Skye Gillespie and Tyler Donovan McCall in Fiddler on the Roof at ACT of CT (ACT of CT)
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Scenic design by David Goldstein is very well done. As mentioned, I love the directorial choice to keep most of the company onstage throughout the show, and the amphitheater style seating that is therefore built into the set is a fascinating visual. In different scenes pieces are set and struck to evoke the various locales, from the tables and chairs of the tavern in “To Life” to the dress forms of Motel’s shop. I particularly enjoyed the use of the turntable built into the stage floor. The scenic design is elevated by the projections that illuminate the upstage wall, courtesy of projection/video designer Camilla Tassi. The projections help to fill out the scenery, providing stunning backdrops for each moment.
Lighting designer Charlie Morrison does beautiful work as well. The use of color, pattern, and highlights versus shadows supports the story being told by the performers, adding another layer of visual storytelling to the piece.
Costumes by designer Leslie Bernstein are top-notch. The garments are elaborate and layered, featuring a range of fabrics and accessories. The costumes are unique to each character, but work well in tandem, presenting a strong community feel in the clothing while still giving us specific pieces to differentiate characters with. Wig, hair, and make-up design by Carissa Thorlakson, likewise, is well done.
Sound design by Jeff Sherwood is strong. One of my favorite design moments was the sound effects at the end of Act I, where the sounds of shattering glass and breaking objects fills the house, but is coming from within the house and behind the audience, giving the effect that the damage is taking place outside of the space that the characters are currently in. The orchestra and performers were solidly balanced throughout the show, which is always nice to hear.
Lighting designer Charlie Morrison does beautiful work as well. The use of color, pattern, and highlights versus shadows supports the story being told by the performers, adding another layer of visual storytelling to the piece.
Costumes by designer Leslie Bernstein are top-notch. The garments are elaborate and layered, featuring a range of fabrics and accessories. The costumes are unique to each character, but work well in tandem, presenting a strong community feel in the clothing while still giving us specific pieces to differentiate characters with. Wig, hair, and make-up design by Carissa Thorlakson, likewise, is well done.
Sound design by Jeff Sherwood is strong. One of my favorite design moments was the sound effects at the end of Act I, where the sounds of shattering glass and breaking objects fills the house, but is coming from within the house and behind the audience, giving the effect that the damage is taking place outside of the space that the characters are currently in. The orchestra and performers were solidly balanced throughout the show, which is always nice to hear.
Danny Rothman and the company of Fiddler on the Roof at ACT of CT (ACT of CT)
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The company of Fiddler on the Roof at ACT of CT (ACT of CT)
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Fiddler on the Roof at ACT of CT, in even just the first act, is a stunning experience of first-rate storytelling delivered by a talented company set against an impressive design. The directorial choices elevate the story we know and love, bringing the relationships within the story to the forefront, allowing the audience into a deeper understanding of the community that the show represents. Experience the iconic musical in a new light now through March 9 at ACT: you won’t want to miss this one.
Fiddler on the Roof plays February 6-March 9, 2025, at A Contemporary Theatre of Connecticut in Ridgefield, CT. Learn more and purchase tickets online at actofct.org/fiddler-on-the-roof or by calling the Box Office at (475) 215-5497.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Fiddler on the Roof plays February 6-March 9, 2025, at A Contemporary Theatre of Connecticut in Ridgefield, CT. Learn more and purchase tickets online at actofct.org/fiddler-on-the-roof or by calling the Box Office at (475) 215-5497.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.