The three sisters in Zoetic Stage's "Fiddler on the Roof," Shayna Gilberg, Emma Friedman, and Caila Katz (Photo by Morgan Sophia Photography)
In “Fiddler on the Roof,” Tevye echoes the feelings of many these days when he says, “I don’t understand what’s happening today. Everything is all a blur.”
And in Zoetic Stage’s moving professional production of “Fiddler,” Ben Sandomir’s Tevye says the line softly, sounding believably hurt and lost. Perhaps we feel the same way with the chaos, unpredictability and divisiveness in 2025 America and much of the world. Therefore, after hearing such words, we may feel reassured. Indeed, live theater’s power to make us realize that we are not alone in our thoughts and worries is undeniable.
The South Florida theater region recently experienced a fine production of “Fiddler,” mounted by The Wick Theatre in Boca Raton. Now, Zoetic Stage puts its own unique stamp on “Fiddler.”
The cast of Zoetic Stage's "Fiddler on the Roof" at the Arsht Center through April 6. (Photo by Morgan Sophia Photography)
Zoetic’s powerful production, which lasts about three hours, including an intermission, runs through Sunday, April 6. The venue is Adrienne Arsht Center’s intimate Carnival Studio Theater in downtown Miami. For this production, the audience surrounds the stage on three sides, making us feel like we are part of the action. In addition, actors enter and exit from the audience seating area.
Under Zoetic Stage Artistic Director Stuart Meltzer’s thoughtful direction and smart staging, a fine cast of versatile performers beautifully captures the show’s humor and pathos. The cast comprises Sandomir, as well as Jeni Hacker, Kalen Edean, Jonathan Eisele, David B. Friedman, Emma Friedman, Henry Gainza, Shayna Gilberg, Sara Grant, Caila Katz, and Nate Promkul.
At times, Meltzer has the performers choose big expressions, and this helps reinforce the piece’s humor. Fortunately, the actors choose more subtle expressions as well, ensuring variety. Curiously, though, only one performer speaks in a Russian accent.
This minimalist production is non-traditional. For example, live productions of “Fiddler on the Roof” typically feature a cast of about 20 performers and a live orchestra of 26 musicians. Contrastingly, Zoetic’s production, operating in a space significantly smaller than many theaters, employs a cast of 11 and a seven-piece live band. This group of gifted musicians gracefully accompanies the performers in song. The band includes Caryl Fantel (conductor/keyboard 1), Jyllian Brown (keyboard 2), Orin Jacobs (woodwinds), Kate Hamann (trumpet), Liuba Ohrimenco (violin), Jason Pyle (trombone), and Roy Fantel (drums/percussion).
In addition, puppets stand in for some of the characters, with performers in clear view operating them. This heightens the production’s theatricality, but adds little to the story.
Zoetic Stage's production of "Fiddler on the Roof" features Emma Friedman, Shayna Gilberg, and Caila Katz. (Photo by Morgan Sophia Photography)
There are no props (the performers mime actions) and the scenic design by Michael McKeever is minimal. It nicely complements Eric Nelson’s atmospheric lighting design, Lenora Nikitin’s period and character appropriate costumes, and Dan Mayer’s clear and realistic sound design.
Instead of detailed scenery, a circular area rests in the middle of the stage. It represents the characters’ small circle of the world, in 1905 Russia, just before the revolution. More specifically, the musical takes place in a small fictional village called Anatevka. In addition to the circular area, which can also symbolize the circle of life, basic scenery seemingly made of wood stands upstage. We may imagine that this upstage scenery represents the top of a home, since “Fiddler’s” iconic image is a fiddler on a roof (a fiddler, along with other musicians, appear in this upstage area.)
The show’s title suggests that without the characters’ traditions, life “would be as shaky as a fiddler on the roof.”
With almost no props or scenery, we can better focus on the performances, the characters, and “Fiddler’s” timeless and timely story and themes.
As you may know, “Fiddler,” based on Yiddish writer Sholem Aleichem’s short story, "Tevye and His Daughters" (also called "Tevye the Dairyman") centers on Tevye and his family.
Tevye is a poor, hardworking milkman. He lives with his wife, Golde (a terrific Hacker) and their five daughters. While Tevye and the villagers feel comfortable with their Jewish traditions and old-fashioned way of life, major change is on the horizon. More specifically, life is about to become more modern and prejudice against some people, including Jews, threatens to break up close-knit communities.
This talented cast, under Meltzer’s sensitive direction, conveys the solidarity between Anatevka’s villagers. Unquestionably, we sense a close-knit community of devout Jewish people who are used to a specific way of life and resistant to change. While non-Jews also populate the village and surrounding areas, the groups tend not to mix.
“We don’t bother them, and so far, they don’t bother us,” Tevye says, referring to his Jewish community and their non-Jewish neighbors. But, as anybody familiar with “Fiddler on the Roof” knows, such a “live and let live” attitude is about to change.
The cast of Zoetic Stage's "Fiddler on the Roof." (Photo courtesy of Morgan Sophia Photography)
Speaking of Tevye, Sandomir, who has shined on many South Florida stages, convincingly and energetically captures Tevye in all his many qualities. Of course, he looks the part. His Tevye is charismatic, soft-hearted, and loving, but also pious, reflective, and filled with gravitas when necessary. Of course, Sandomir’s Tevye can also become angry, closed minded, and insistent. Still, his positive qualities outweigh his negative attributes.
We keenly sense Tevye’s inner conflicts; as Sandomir portrays him, an obviously torn man weighs the pros and cons of bending, but not breaking, with the times.
Certainly, Sandomir conveys his character’s devotion to his family. For example, he sensitively sings lyrics such as “And I suppose I love you too,” during the heartfelt song, “Do You Love Me” toward the show’s end. As it should, the song begins with palpable tension. However, such chilliness melts into warmth and sincerity as Golde and Tevye realize they sincerely love each other, and have not expressed or explored that devotion often.
Also, right before Hodel (a determined Katz) leaves for Siberia to be with her beloved Perchik (Promkul), Tevye’s vulnerability and concern for his daughter shine through.
Sandomir and Katz sing a loving duet, “Far From the Home I Love.” The song is haunting as we realize that a long time may elapse before Tevye and Hodel see each other again.
In addition, Sandomir is appropriately wistful and pious when Tevye sings the dreamy “If I Were a Rich Man.” As Sandomir sings it, even if you are unfamiliar with Yiddish or Jewish culture, you clearly sense that nonsensical lyrics such as “Ya ba dibba dibba dibba dibba dibba dibba dum” reinforce Tevye’s yearning to be closer to God. By the way, you do not have to be Jewish to find value in “Fiddler on the Roof.” In fact, many people who have experienced the show felt as though they were seeing their own family and community on stage (a glossary of Jewish terms in the program may help familiarize you with the tradition).
Hacker, an award-winning performer who is no stranger to Zoetic Stage or musical theater, also triumphs as Golde. Hacker imbues Golde with a sharp wit and an inner strength that suggests that this woman is a survivor. In particular, she has endured many years of poverty with Tevye. And we sense that Golde is so familiar with Tevye that some of his qualities annoy the heck out of her. But deep down, it is obvious that the two truly love each other. While Golde’s sarcasm and impatience can be off-putting, we ultimately admire her tenacity and feel hopeful with her when she receives good news.
Zoetic Stage's cast of "Fiddler on the Roof." (Photo by Morgan Sophia Photography)
Promkul, an award-winning actor and a regular with Zoetic Stage, deftly conveys his understated Perchik’s independence and confidence without making the character unlikable. Rather, we sense his zest for life and enthusiasm when he gives Tevye’s daughters' lessons. And Perchik’s sincere love for Hodel is always clear (the two share an undeniable chemistry).
Other standouts include Friedman, who injects Motel the tailor with credible nervous energy and insecurity. However, Friedman’s Motel drums up enough courage to confront Tevye when necessary. And the performer’s joyous rendition of the celebratory “Miracle of Miracles” is a production highlight.
The actors playing Tevye’s daughters each inject their characters with distinct and winning personalities. As a group, they dreamily sing the memorably hopeful “I Want” song, “Matchmaker, Matchmaker.”
In addition to a sensitive Gilberg as Tzeitel, Friedman lends Chava a sweet innocence. Your heart goes out to her, particularly when Sandomir’s Tevye tenderly sings about “Little Chavaleh” during the Chava Sequence toward the end.
Other fine performances include Edean’s well-meaning Fyedka, Gainza’s awkward yet enthusiastic and sincere Lazar Wolf, and Grant’s sing-songy, optimistic, and lovable Yente. Ensemble numbers are as moving as solos and duets in this production. For instance, the cast sings a reverential “Sabbath Prayer,” a song that does not move the plot forward but reinforces the villagers’ devotion to their faith. And “Sunrise, Senset” is hauntingly beautiful as this cast sings it. In addition, “To Life,” is, appropriately lively and jubilant.
Dance-wise, choreographer Sandra Portal-Andreu’s movement is vibrant and often has performers dancing in a circle. That is appropriate for a show that emphasizes life’s continuous, recurring nature. We would be remiss if we did not mention the joyous bottle dance, during which cast member Jonathan Eisele brilliantly balances a bottle on his head. The performer makes it look easy. Alas, the balancing act between maintaining tradition and adapting to change that Tevye must make in the show is not as seemingly easy.
Life in general is not easy. But layered and relatable shows such as “Fiddler on the Roof” help us take stock of our lives and realize that we all have company in our struggles.
“Fiddler on the Roof” explores the relevant conflict between holding onto tradition and adapting to change. Also, the musical sensitively handles themes such as family, community, faith, and the struggle for survival in the face of prejudice and oppression.
The characters are easy to pull for because they are relatable and recognizable. Family and family dynamics affect just about all of us, so we can relate to “Fiddler’s” story, with a touching and funny book by Joseph Stein, unforgettable music by Jerry Bock, and heartfelt lyrics by Sheldon Harnick.
While we can find plenty of relevance in “Fiddler on the Roof,” parts of the show seem dated. For instance, you would hope we are past the time when a parent would consider a child “dead” because the offspring married outside of the family’s faith. Also, Golde tells one of her daughters, “You were reading again? Why does a girl have to read?” But on the other hand, as Tevye tends to say, such a comment can make us reflect on how much progress we have made – and how much work remains.
“Fiddler on the Roof” nicely reflects real life’s ups and downs. It is, indeed, “laden with happiness and tears” as the lyrics go.
IF YOU GO
- WHAT: Zoetic Stage’s “Fiddler on the Roof”
- WHEN: 7:30 p.m. preview, Thursday, March 13. Opens Friday, March 14. Performances 7:30 p.m., Wednesday, Thursday, Friday and Saturday, 2:30 p.m. Sunday. Through Sunday, April 6.
- WHERE: Carnival Studio Theater at the Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami
- TICKETS: $76, $66.
- INFO: (305) 949-6722 or arshtcenter.org.
