Review: Jason Alexander Leads Outstanding FIDDLER ON THE ROOF at La Mirada Theatre

I still remember the first time I ever heard actor Jason Alexander's voice in a musical. 

While a freshman in high school, the very first original Broadway cast recording my dad ever bought for me was the album for Jerome Robbins' BROADWAY, the Tony Award-winning musical theater anthology that showcased multiple musicals that were either directed or choreographed by theater legend Jerome Robbins, the genius choreographer whose industry-defining work made an indelible mark in shows like WEST SIDE STORY, GYPSY, ON THE TOWN, and THE KING AND I. 

That musical's featured lead actor just happened to be Alexander, who not only played the show's affable host and narrator, but also took on the part of Tevye in the show's curated suite of songs from FIDDLER ON THE ROOF. Later, I would watch him on TV win the Tony Award for his role in the musical.

The show's original cast album, as expected, had always stayed with me as I played that double-CD over and over again for many years thereafter, especially since I was a classic musical-loving kid who, at that point, had never even seen a live stage musical other than the ones I myself performed in for middle school productions (I decided to quit performing right after an 8th grade bully yelled a slur towards me while singing a solo in the school's big musical, but I digress). Suffice it to say, Robbins' musicals made quite an impression on me from afar.

Alexander's later appearances in films (including Pretty Woman) as well as his Emmy-nominated role in the NBC hit sitcom Seinfeld solidified his star quotient for the rest of the world. But it wasn't until many years later in 2003 when I personally finally got to see Alexander live on stage: as Max Bialystock in the Los Angeles production of the Mel Brooks hit musical THE PRODUCERS, up there hamming it up opposite Martin Short. 

Fast forward to November 2024, and I finally got to see Alexander in person play Tevye from a seat in the fourth row during the opening night performance of a brand-new production of FIDDLER ON THE ROOF, presented by McCoy Rigby Entertainment that is now currently on stage at La Mirada Theatre for the Performing Arts through December 1. 

A lively, emotionally-grounded, classic-leaning staging that still somehow manages to feel fresh, reinvigorated, and much more searing compared to the multiple other productions I have seen of the show over the decades, this latest SoCal-area revival of the nine-time Tony Award-winning landmark 1964 musical—here directed by Alexander's MERRILY WE ROLL ALONG castmate Lonny Price—is, at its most impressive core, one of the most thoughtful, winningly-engaging stage musicals of the year thus far. 

Simply put, this gorgeously-staged, Broadway-quality FIDDLER is a definite must-not-miss production—and a very timely one considering where our world currently stands.

Seeing Alexander as Tevye feels like a long-overdue gift to us musical theater geeks. 

The ideally-cast Alexander—clearly tailor-made to embody this role—is just absolutely perfect as the poor, harried, overworked milkman raising his family while trying all he can muster to navigate the challenges of tradition, faith, and changing societal norms that come with life in Anatevka, a small rural village in Czarist-ruled Imperial Russia, right around the turn of the 20th Century. 

From his first walk-out to introduce himself and his village's customs in the awesome opening of "Tradition," to his final, bittersweet farewell into the diaspora, Alexander set the tone for what would become one of his best stage performances to date. His "If I Were A Rich Man," by the way, is an early, entertaining highlight that snowballs into a continuously entertaining evening overall. He really looks like he's having a ball up there.

It's hard to believe while witnessing his full-bodied, expressive performance that Alexander has never played the role in a full production until now, given just how well he encapsulates this iconic character—one who is deeply rooted in the traditions of his Jewish faith, but whose values are consistently challenged at every turn, especially as his three eldest daughters (of five!) dare to marry for love rather than follow the traditional matchmaking process that have been the bedrock of their culture. 

In every scene he is in, Alexander has crafted a standout, definitive Tevye that effortlessly straddles humor, vulnerability, perseverance, and volatility—a performance that can arguably stand proudly alongside the many memorable portraits of the role we have seen throughout the years (including Topol's rendition, the first person I ever saw as Tevye both in the 1971 film adaptation and in the national tour that stopped in the OC). 

FIDDLER ON THE ROOF focuses on Tevye's inner conflict as he struggles to balance his love for his daughters with his devotion to cultural and religious traditions—the very fabric of who they are as a people. As we see his Tevye slowly reconsider his views on family and faith as each of his daughters' choice of a husband becomes progressively more unconventional, Alexander provides beautifully nuanced doses of both humor and heartbreak—sometimes even within the same scene. 

The audience will certainly enjoy watching his Tevye basically confront the limitations and relevance of these long-held traditions… sometimes with humor, sometimes with abject frustration.

And on top of all that drama and tumult at home, Alexander's character also has to deal with the ever-changing landscape of his evolving environment, where a foreboding, imminent danger seems to be on the horizon for him and his neighbors. Reflecting real-life historical events from a century ago, the village of Anatevka similarly faces growing anti-Semitic pressure from the Russian government, which ultimately forces this Jewish community to leave their homes. Alexander may be best known for his comedic roles, but here, especially in these more dramatic scenes, the actor shows his impressive versatility.

There is certainly a palpable musical theater skill set at play here, making this production all the more enjoyable—evidenced by not only Alexander's terrific solo monologues, but also in his vibrant interactions with his ensemble co-stars. 

To their collective credit, the large assembled company for this production is a stellar one, elevated further by their gorgeous renditions of the show's classic songs—crafted by composer Jerry Bock and lyricist Sheldon Harnick—that are performed under the sweeping baton of musical director Alby Potts, who conducts a glorious-sounding large multi-piece orchestra that sounds absolutely amazing. Hearing this score in its full brilliance once again brings me so much joy. By the time the entire phenomenal cast sings "Sunrise, Sunset" near the close of the first act, I couldn't help but tear up a little.

And, even better, despite his star-powered marquee presence in this production, Alexander is also quite generous in letting his scene partners shine as they should, particularly whenever opposite the three incredibly-voiced ladies who play his character's eldest daughters, Rachel Ravel (Tzeitel), Alanna J. Smith (Hodel), and Emerson Glick (Chava), as well as, of course, the wonderful Valerie Perri who plays Tevye's hardworking, outspoken wife Golde (Perri, coincidentally also has a history with the touring company of Jerome Robbins' BROADWAY). 

Two of my favorite numbers in the show "Matchmaker, Matchmaker" and "Do You Love Me?" involve these four ladies, and they definitely made the songs quite memorable.

Other notable performances within the large cast include Cameron Mabie as Tzeitel's adorkable tailor-suitor Motel (who gives his song the show's sole contemporary-leaning interpretation, versus everyone else's more classic musical theater sound), the commanding Remy Laifer as handsome student-revolutionary Perchik who romances Hodel, the jolly Ron Orbach as Lazar Wolf, the local butcher who initially sets his sights on Tzeitel, Marc Moritz as the wise but seemingly scatterbrained Rabbi, Gregory North as the intimidating Constable, and scene-stealing Eileen T'Kaye as Yente, the advanced-age village matchmaker and general busy-body who seems to know everyone's business and becomes understandably (and hilariously) upset when her usefulness becomes obsolete amongst Tevye's daughters.  

Also worth an individual shout-out: Gwen Hollander as the green-tinted ghost of Lazar Wolf's first wife Fruma-Sarah (her "height" definitely gives "Defying Gravity" vibes), and Michael James—a frequent familiar face on this La Mirada stage—who stands out during a tavern scene when he holds out a high note for what seems like a ridiculous eternity (heck yeah, dude)! 

But beyond the cumulative acting performances of Alexander and the rest of the company, the production itself is just a really, really well-executed classic stage book musical, which reveal both a modernist approach to old material, yet still with a deep reverence to Robbins' original vision—highlighted by Lee Martino's stunning reproduction of Robbins' original dance moves. And, yes, the infamous bottle dance during the wedding reception scene is painstakingly recreated here to astonishing effect, and kudos to Gavin Leahy, Marc C. Reis, Michalis Schinas, and Michael Wells for pulling it off flawlessly (so… the bottles are held up by, like, velcro right?!). 

With great care not to completely reinvent but, instead, to enhance and highlight what already makes this material special, director Price presents a show that balances unvarnished reality with an artistic creative license, resulting in a beautifully-rendered, Broadway-caliber production that not only sounds good but looks good as well—aided tremendously by Anna Louizos' striking set designs accentuated by Japhy Weideman's mood-enhancing lighting design. Catherine Zuber's original costume designs are recreated here as well, making everything feel authentic to the period.

This sublime production of FIDDLER ON THE ROOF's tricky balancing act of retro revitalization is, of course, best displayed in hearing the still-resonant words in the show's book written by Joseph Stein, which takes its basis from old stories by Sholom Aleichem. The delivery may now feel like it has gone through a sitcom writers' room, but the impact and meanings remain the same as they did back in its original run 60 years ago.

It's particularly eerie, of course, that despite its age, the show's significance today remains shockingly still familiar, especially given its parallels to events that have transpired just in the past few weeks right before the show's opening night. It proves, more than anything, that the show remains a vividly-realized example of what it still feels like to be considered an "other" by a larger populous who would prefer them to just disappear. 

FIDDLER ON THE ROOF is a rarity… one of a handful of stage musicals that actually addresses the shocking violence and aftermaths of actual prejudicial behavior. Its real-world parallels of recent days—where incidents of violence and so-called modern day versions of pogroms against Jewish people in Europe have alarmingly increased since last week's US election—makes watching the pogroms depicted here that took place more than 100 years ago seem frighteningly prescient. 

So why the title? Well, to put it simply, the title metaphor of a fiddler trying to balance himself on a rooftop while playing a beautiful melody represents the precarious balance the characters—and, well, us—must strike between holding onto the past and also embracing change… making this musical a timeless exploration of family, faith, and resilience through adversity. You can even see this emphasized in Robbins' mesmerizing original choreography—where movements mirror the balance-seeking tension between grounding oneself in tradition and adapting to new realities.

That inherent timelessness is why FIDDLER ON THE ROOF—especially this excellent revived production in La Mirada—still holds up today. The reason it remains a timeless classic is because it captures the universal human experience of change, the struggle of a people to preserve their heritage, and the resilience needed to face uncertain futures. The musical reminds today's audiences of the value of tradition, yet it also underscores and champions the necessity of adaptability for forward progress, making it as relevant today as it was when it was first performed. 

But its brilliance also stems from its ability to take a specific cultural experience—the lives of Jewish villagers in the very early 1900's facing oppression and displacement in Czar-ruled Russia—and make it universally relatable to all. 

The experiences of Tevye's family mirror challenges faced by all kinds of families everywhere, regardless of ethnic origins or socio-economic background: generational conflict, the search for identity, and the desire for self-determination. By focusing on relatable emotional struggles, FIDDLER ON THE ROOF transcends its specific setting, allowing audiences from diverse backgrounds to connect with the characters' journeys and to empathize with their struggles. This is why the story is particularly resonant with immigrant communities who continually feel "othered"—even to this day. 

Its exploration of cultural identity, especially through the lens of humor and warmth, set a new standard for representation on Broadway, paving the way for other musicals that depict specific cultural experiences such as IN THE HEIGHTS, PARADE, and RAGTIME.

Combining humor, heart, and profoundly relatable themes, FIDDLER ON THE ROOF continues to be an appealing, emotionally-searing show. And in the hands of Price, Alexander, and this talented cast and creative team, the show can hold on proudly to its storied legacy and its revered space in the world of musical theater. 

And for this long-time fan of Alexander's version of Tevye, it has been well worth the wait. L'Chaim!

Follow this reviewer on Instagram / Twitter-X / Threads / BlueSky: @cre8iveMLQ.

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Photos by Jason Niedle / TETHOS, courtesy of La Mirada Theatre for the Performing Arts.

Performances of the McCoy-Rigby Entertainment production of FIDDLER ON THE ROOF at The La Mirada Theatre for the Performing Arts continue through Sunday, December 1, 2024. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

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