PLEASANT GROVE — Some of the most profound theatrical experiences I’ve ever had are tied to seeing productions of Fiddler on the Roof from composer Jerry Bock, lyricist Sheldon Harnick, and librettist Joseph Stein, who wrote the book. If you’re going to commit over three hours and a tidy sum to a production, it needs to be emotionally connected, thought provoking, and human. I value Fiddler as a story for both what it consistently gives and for how it can mean so much at different times of life. The M/W/F cast production I saw last night at The Ruth cast was traditionally successful and so much more in new and nuanced ways.
Direction and Design
My note book was filled with the word simple. That’s not a dig. The final scenes of this show displaced characters talk about leaving their home of Anatevka and realizing that material things, “A pot. A pan… A house.” are just things. The stage design from Jason Baldwin was set with a neat wood frame home including levels and stair cases going up and down – though none going nowhere just for show. Costumes are both appropriate for the period, and appropriately aged and weathered.
The groupings of people were clear in staging, formations, and character pieces. Many moments of choreography Ben Roeling were well conceived and performed with precision aligning with what’s expected for a show based richly in traditions and with a well known film version. Roeling especially excellent in having the dance be more expressive than clean such as the men dancing in the tavern during “L’chaim” While the Jews of this age are often given a strong accent and vocal cadence, this had hints of that vocal affect without being caricatures. Again, so simple, and in all of its simplicity, brilliance shone through.
Acting
This, of course, is a credit to the cast being grounded. It’s also an incredible compliment to director Barta Heiner who lets a legendary text stand on its own and wring out laughter and tears with a story that is infinitely relatable. As a father of children, I watch this play and wonder how they will grow. As someone who was proposing marriage to an intimidating man with much less than the dreams of a sewing machine, I see myself in these men. And, of course, Heiner excels in making the women of this story shine with their hopes, dreams, disappointments, and rigorous optimism. The show program reveals no director’s note, and with the way this cohesive cast came together to tell stories, truly none was needed. A great director makes the theatre feel alive, and Heiner, who brought a Dumbledore style of wisdom and magic to this show, did that excellently with this show.
The cast was full of rich and complex performances. Ben Henderson’s portrayal of Tevye was grounded and subtle while still full of fire. Henderson brought some expected moments such as shimmys in “If I Were a Rich Man” but didn’t ever milk it. He took time to think through his conversations with the Lord. His complex refusal to bend on his faith at the peril of breaking was believable and anguishing to watch. It’s so easy to want to make this character a caricature, but it’s so much more profound to make him a man and Henderson did that beautifully.
Sydney Dameron was a fantastic blend of fiery and meek as Hodel. There was a painful moment when Perchick (Bronson Dameron) attacks Hodel’s intelligence and you can just see the lights go out. It was a crushing moment of non-verbal acting that was a skill the permeated leads and ensembles in the cast. Later, the two had a dynamic chemistry that lent believability to the performance. Hodel’s pleading with her father to understand during “Far From the Home I Love” was beautifully acted and sung by Sydney Dameron. I often criticize theatres for prioritizing singing over acting. The singing across the board in this show was very good. The acting was truly great across the board.
I loved the aloof chatter of Shawnda Moss as Yente, but loved even more her thinly veiled fear as she plans to go to the Holy Land at the end of the show. Bradley Moss as Lazar Wolf carried his cantankerous energy throughout and you could see his countenance darken despite being civil after his marriage proposal was undermined. Brinton Wilkins brought both soberness and levity to the Rabbi which was a nice touch. Merci Collins and Amelia Rose Moore were a power duo in the Fruma-Sarah nightmare sequence. Each young love story had charm, and the complexity and duality of Tevye’s stonewalling against his third daughter’s betrayal was profound. The ensemble driven numbers were excellent as actors felt like their stage business wasn’t forced or unmotivated.
Recommendation
Fiddler on the Roof isn’t gaudy. It’s not easy to process. It has memorable, but not show stopping songs. But it deals with the human reality that things do not always go as planned. It embraces the need to find what’s next when that’s not a question you want to answer, or sometimes even consider. The show’s actors gave the characters richness, dignity, and a unique blend of the timely and timeless. The production crew created a beautiful Anatevka on The Ruth’s thrust stage, and absolutely earned their standing ovation. This production has a relatively short run and won’t be here forever; even if it requires some sacrifice, this is a show worth seeing.
MORE INFO: The Ruth’s Production of FIDDLER ON THE ROOF plays Monday through Saturday at 7:30 PM with select matinee times (like Saturdays at 4:00 PM) and runs February 2 – March 21, 2026 in the Smith Grand Theater at The Ruth (401 South Pleasant Grove Blvd, Pleasant Grove, UT). Tickets are available through the theater box office or online; prices vary by date and seating but range from $44 to $80. ASL interpreted performances: Fiddler on the Roof has ASL interpreted shows on Friday, March 13 at 7:30 PM, Saturday, March 14 at 4:00 PM, and Saturday, March 14 at 7:30 PM. Reservations are required at least one week in advance by contacting the box office. For more information, please see: