Author: Winter Adair
On November 29th, 2024, I had the sheer pleasure of attending McCoy Rigby Entertainment’s production of Fiddler on the Roof at La Mirada Theatre for the Performing Arts is a stirring revival of the beloved musical, anchored by a dynamic performance from Jason Alexander as Tevye. From the moment the orchestra launched into the iconic strains of Tradition, I felt a rush of nostalgia mixed with eager anticipation. Under the direction of Lonny Price, who honors Jerome Robbins’ original staging while breathing fresh life into the production, this Fiddler retains its heart and legacy while feeling as relevant as ever.
Alexander, widely recognized for his comedic work on Seinfeld, is no stranger to the stage, and it shows. He fully embraces Tevye’s depth and contradictions, effortlessly shifting between humor and heartbreak. I was particularly moved by how he made each of Tevye’s struggles feel deeply personal—his booming voice commanding the stage one moment, his quiet despair breaking my heart the next. Opposite him, Valerie Perri’s Golde balances sharp wit with warmth, making their long-married dynamic feel lived-in and authentic. Their rendition of Do You Love Me? was one of the evening’s most touching moments, bringing an unexpected tear to my eye.
The daughters—Rachel Ravel (Tzeitel), Alanna J. Smith (Hodel), and Emerson Glick (Chava)—each shine in their respective roles, portraying young women torn between family duty and personal dreams. Matchmaker, Matchmaker crackled with playful energy, while Far From the Home I Love felt like a gut punch, embodying the bittersweet nature of change. Cameron Mabie’s Motel was both endearingly nervous and determined, while Remy Laifer’s Perchik radiated revolutionary idealism. Sawyer Patterson’s Fyedka stood out as the quiet but resolute outsider, willing to defy social expectations for love.
Eileen T’Kaye’s Yente had me chuckling at her perfectly-timed quips, while also making me reflect on the fading role of a traditional matchmaker in a shifting world. Ron Orbach’s Lazar Wolf, full of bluster and longing, provided a compelling mix of comedy and gravitas.
Price’s direction ensures that the production flows seamlessly while keeping its emotional core intact. Watching the iconic Bottle Dance unfold on stage was nothing short of mesmerizing—I was on the edge of my seat, marveling at the precision and grace of the dancers. Anna Louizos’ scenic design masterfully transports the audience to Anatevka, evoking the dreamlike yet grounded essence of Marc Chagall’s paintings.
Under Alby Potts’ musical direction, Jerry Bock and Sheldon Harnick’s timeless score resonates with clarity and power. From the exuberant To Life to the haunting farewell of Anatevka, each song felt both familiar and freshly impactful. I caught myself humming Sunrise, Sunset long after I left the theater, struck by how deeply this show continues to resonate.
This Fiddler on the Roof is not just a faithful revival—it’s an invigorating one. With a commanding lead performance by Alexander and a stellar supporting cast, it captures the heart, humor, and tragedy of Tevye’s world with astonishing clarity. Whether you’ve seen it a dozen times or are experiencing it for the first, this production is a must-see, reminding us all of the delicate balance between holding onto tradition and embracing the unknown.
