Jacob Medich in Fiddler on the Roof
The story of the Circa '21 Dinner Playhouse's current Fiddler on the Roof, with its book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick, is likely familiar to many: Tevye, a poor Jewish milkman in imperialist Russia, strives to uphold tradition while marrying off his five daughters. But as his eldest daughters choose love over arranged matches, Tevye is consequently forced to confront the tension among faith, family, and change.
My little theatre-nerd self would like you all to know that Fiddler on the Roof is often considered one of the final entries in the Golden Age of Broadway era, a period defined by sweeping scores, big ensembles, and stories rooted deeply in character and community. Director Georgette Kleier’s production checks nearly every one of those boxes handily.
In fact, my biggest complaint with Circa '21's production is that the village scenes felt a bit underpopulated. During Sunday's opening number, “Tradition,” I didn’t mind so much; I was simply delighted to be transported to the small town of Anatevka. But by the time the wedding rolled around, the stage felt noticeably sparse. That’s the tricky thing about Golden Age musicals: Those lush, full-company numbers are part of their DNA, and staging them is no small feat.
That said, what Kleier's cast may have lacked in numbers, they more than made up for in sheer talent. Take, for instance, Jacob Medich’s Tevye. I’ve been fortunate to see several actors take on this iconic role, but Medich delivered a particularly compelling performance. What stood out most was his ability to balance Tevye’s humor with the deep emotional conflict at the character's heart. His portrayal captured both the fierce love and angry frustration of a father watching his world shift beneath his feet. Medich's “If I Were a Rich Man” hit all the expected beats (can one even sing that song without shaking their fists above their head?), but also carried an undercurrent of longing that made it feel especially human.
Sarah Hayes brought a wonderfully dry wit to Tevye’s wife Golde, offering a fresh take on a character who can sometimes lean toward overly stern. Her comedic timing grounded the role while still allowing space for warmth, and partnered with Medich, you can see how this arranged marriage has worked for 25 years and has grown into actual love. What’s more, it was beautiful to watch the characters' realization that love is actually important to them.
Visually, this Fiddler was also a treat. Scenic designer and artist Becky Meissen created a striking cut-out backdrop that beautifully established the world of this musical. The way additional set pieces moved seamlessly on and off stage kept the action fluid; I especially enjoyed the creative chuppah for the wedding. Meanwhile, Nicole Blodig’s lighting design elevated each moment. During “Sabbath Prayer,” in particular, the stage was gorgeously lit – though I’ll admit, I’ll always dream of real candles flickering on stage in that moment, even if that’s not practical. This scene also seamlessly connected the scenery, lights, and staging to make the stage feel much larger than it was.
Costume designer Bradley Robert Jensen did an excellent job grounding the show in its time and culture, with thoughtful attention to detail in all the pieces. But the true standout moment with the costumes came during “Tevye’s Dream.” The ghostly costumes and masquerade masks were charming, but then, when Syd Richardson's Fruma-Sarah appeared, the wardrobe became a scene-stealing delight. Her costume, complete with oversize pearls, exaggerated nails, and ghostly rags, brilliantly matched the spectacle of the number.
Tzetial (Abigail Hart Goldman) and everyone’s favorite tailor Motel Kamsoil (Gregory Naman) looked, to borrow a phrase from “Sunrise Sunset,” natural together, and Naman definitely brought the right spirit of meekness to Motel. When he finally declares his worth to Tevye, it felt every bit as dramatic as Daniel in the lion’s den. If, however, I’m being especially critical, and this production is strong enough to withstand it, the undeniably talented Bobby Becher felt out of place as Perchik. Even so, it’s easy to see why Hodel (Laura Whittenberger) would fall for the character and follow him to the nearly literal ends of the Earth.
Chava’s storyline, portrayed in Sunday’s performance by Sophia Kilburg (with Wrigley Mancha alternating), was especially moving. Tevye’s response to her choices brought some of the most poignant moments, enhanced by Ashley Becher’s reproduction of the original choreography, which allowed his love for his daughters to shine through even in conflict. It’s fascinating how a show so rooted in tradition can carry such profound heartbreak, and Circa '21's production walked that line beautifully. I laughed, I teared up, and I felt the full emotional weight of the story.
Although, yes, I couldn’t help but chuckle at the menu featuring pork and shellfish – hardly kosher fare for a show so steeped in Jewish tradition – my 11-year-old wants you to know the baked potato was delicious. And the Bootleggers' pre-show, celebrating the Golden Age of Broadway, was a fun and fitting kickoff to the evening. All told, this production may not have had the full-crowd ensemble one might imagine for Fiddler on the Roof, but it delivered where it mattered most: in heart and storytelling. It was a truly delightful evening at Circa '21, and this is one production that is not to be missed.
Fiddler on the Roof runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through June 27, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
