A little bit of this… a little bit of that… And— only 94 actors!? That’s a new tradition for Howard County Summer Theatre! Marking their 50^th annual production (founded in 1975 but there was a pandemic in there for a summer or two), HCST brings the iconic musical of tradition to the stage— for the 3^rd time (1988, 2015, and now.) Directed by Tom Sankey with Vocal Direction by Miriam Kook, Choreography by Kassi Serafini, and Orchestra led by Kevin George, this heartfelt retelling of Tevye in the village of Anatevka is a musical theatre chestnut that has a striking relevance to today’s world.

For a once-a-year, summer-stock theatre, Sankey and crew put on a pretty swell production. The stage is a little crowded from time to time, but on the other hand it’s a pretty cavernous play space. On the other hand, Sankey and choreographer Kassi Serafini utilize the whole of the theatre, bringing the 64+ villagers out into the aisles for “Sabbath Prayer” which actually creates a really breathtaking visual as they clump together in their little families of 4-6 and all hold their candles while singing that bittersweet tune. On the other hand, you get the sense that the village could burst when they’re doing the opening number— “Tradition” with everyone spinning traditional klezmer circles around one another. On the other hand, it’s great to have so many ‘zombie’ style dancers for “The Dream” (which is a unique and fun execution of this number if ever I’ve seen it.) On the other hand— well, you’ll have to see it, unlike Tevye, I’m running out of hands.

One of the most impressive feats that HCST manages to achieve every year is their live orchestra pit. Albeit overpowering at times (and that’s not entirely their fault as they’re out in the open, wholly uncovered), having live music for any musical is always authenticating and a delectable treat, especially when they play as well as they do under the direction of Kevin George. The orchestra* adds layers and creates appropriates vamps when scenic shifts need to happen but perhaps one of their most impressive features is whichever one of the five violinists is responsible for The Fiddler (Michael Gbadamoshi.) The synchronization visual is stunning. Someone has taken the time to really show Gbadamoshi how to look like he’s playing the fiddle and the sound that drifts up onto the stage from the orchestra pit matches his motions flawlessly; it’s a simplistic yet much appreciated detail.

Kassi Serafini’s choreography has already been praised but she’s really worked hard on getting enthusiastic dance-energy into this show and really utilized some superbly stylized dance routines (though I’m not 100% sure if anyone— Russians, Jews of Anatevka or otherwise— was adding such modern kick-flare to their coffee-grinder swivel-spins. The move itself does have traditional Russian dance roots but the flare the dancer boys are exuding give it that much more present-day vibe but it’s really impressive either way.) Between the ‘Jets-Sharks’ homage dance battle during “To Life” and the merriment making in the circle-spinning moves at the wedding, Serafini gives her cast quite a lot to celebrate and it’s executed with simplicity and precision, which is a masterful feat considering how many dancers are often bunched up on the stage.

Scenery (Douglas Thomas), Lighting (TD- Laura Greffen), and Costumes (Kathy Bondura) are all perfectly serviceable. But if I had to pick a production element that’s my ultimate favorite, it’s everything coming out of Property Director Regina Kempic and Emily Rice’s props department. It’s the little things— like the silver candlesticks…which look suspiciously like a certain Bishop-gifted pair of silver ones circa 2014 and my personal favorite the large ‘V’ grain-bags that get loaded into the wagon in the final scene, time-stamped from 2023, certainly (possibly also 1999, and 1987!) It’s little Easter Eggs, almost always in the props and costume department, that show a theatre company’s living history and that is something special in and of itself. (Heck, Tevye’s cart might also belong to a certain crashing street-scene circa 2014!)

Performances across the board were strong. Vocal Coach/Director Miriam Kook ensured good clean blends if there’s one ultra-astonishing success she achieved it’s getting Hodel (Naomi Abanwah) and Perchik (Justin Moe), both of whom have sublime vocal prowess, to glide with pitch-perfect ease through those warped, challenging harmonies of “Now I Have Everything.” For the first time in a good dozen or so Fiddlers or so over the years, that song sounded so beautiful and musical that I wanted them to sing it again. Kook also derives a good emotional vibe from her ensemble, listed at “The Villagers”** particularly during “Sabbath Prayer” and at the show’s conclusion during “Anatevka.” And to his credit, Tod Sankey keeps the show moving; Fiddler could easily be a three-hour show and Sankey managed to bring this one in at a tight 2-and-40 with the intermission and did so without rushing through anything. He even kept “The Rumor”, my personal favorite number.

Tevye has five daughters— FIVE!! Bielke (Reyna Somerville), Shprintze (Molly Lanthier), Chava (Libby Burgess at this performance), Hodel (Naomi Abankwah) and Tzeitel (Sarah Young.) And while Somerville’s Bielke and Lanthier’s Shprintze don’t get solo songs of their own, per say, they are featured in “Matchmaker” near the end and at other adorable points in the show. Young’s Tzeitel, who also doesn’t receive a featured solo (per the libretto not for a lack of talent coming from Young) gets to showcase her vocal powers momentarily both in the latter bit of “Matchmaker” and her enthusiasm is keenly felt during “Miracle of Miracles”, a solo song and joyously celebrated by Motel (Jed Silverman), who has the perfect balance of being cowardly whenever he’s facing Tevye.

As Chava, Libby Burgess (at this performance) delivers the shy but tender burbling chemistry between the middle daughter and Fyedka (at this performance, Sam Bishop.) Bishop has an extraordinary belt and sustain, which you get to hear during “To Life” but is also one of the two actors whose characters are reading a bit like they’re in a modernized 2010 version of Anatevka rather than 1910. His modernity aside, he brings a great presence to both his singing and dancing, as does Burgess’ Chava. Her dancing during the “Chava Dream Ballet Sequence” is delicate, almost bird like. There is a great deal of emotional turmoil which develops between Burgess’ Chava and Tevye and your heart cries out for her when decisions are made later in the second act.

With powerhouse vocals and a superb understanding of the cheeky meet-cute vibe, Naomi Abankwah makes Hodel the daughter we’re all suddenly quite interested in! She finds that delicate balance between challenging Perchik (Justin Moe) and flirting with him respectfully— RADICAL! But it’s her voice that is truly remarkable. When she alights upon “Matchmaker” it desperately makes you hope that HCST chooses a show for their 2027 production that will serve as a vehicle for her impressive vocal talents. You get to hear her vocal prowess and harmonizing capabilities during “Now I Have Everything”, a duet shared with Moe, and as previously mentioned, this pair does such a stupendous job with this number, you wish they had a reprise or a second duet together!

If you want true ‘princess-track’ characters in Fiddler— enter: Fruma-Sarah (Elizabeth Porter at this performance) and Grandma Tzeitel (Diane Alonzo at this performance.) The whole Dream Sequence is a riot. They include The Rabbi (Doug Kook) and Lazar Wolf even pops up at one point with a rubber chicken. Alonzo has the perfectly affected voice for her feature in this number and when Porter arrives on her ghostly-ghastly wheelie-tower— truly larger than life, wholly (and heck, holy) spectacular in her grandeur— the audience is really eating up every minute of it. Porter has a powerhouse voice, perfectly suited for the belt-shrieking that is conscripted to the Fruma-Sarah character— and those pearls! You could do hold a game of double-dutch for at least three of Tevye’s daughters with them; they’re magnificent! Porter and Alonzo show up in that number, sing their bit, and set the entire course of the musical on a different path; it’s brilliant!

Speaking of characters in the dream… Lazar Wolf (Todd Hocheppel) never loses his comedic edge. His comic timing, especially at the end when discussing American cities, is hilarious. With robust vocals, he celebrates his way all through “To Life” with Tevye and the rest of the menfolk in the tavern. And he creates quite the little scene at the wedding as well. Matching him toe for comedic toe, Debbie Mobley as Yente, finds a plethora of ways to get the giggles, and she’s queen of the thrice-round callback, particularly at the end when she’s attempting to say her goodbyes to Golde. Both Hochkeppel and Mobley have solid vocal affectations that lead you to believe their characters’ seasoned years and generalized existence in the time stamp. And Mobley gets to kick-off and close “The Rumor”, which is such a hilarious number that you almost forget you’re watching a show that ultimately has a very bittersweet and humbling ending.

Tevye (John Bruns) is really something in this production. When you think of Tevye, you’re thinking of Zero Mostel, Chaim Topol, maybe Harvey Feirstein or Alfred Molina. And John Bruns finds a way to nod to these theatrical titans, whilst staying within the traditions of what is expected of a Tevye, and somehow also making it a little bit of his own. It’s a very impressive balancing act. He keeps the vocal affectation consistent, he keeps his cheeky asides to himself and to God balanced meticulously with just the right amount of comedic depth, and he understands how to play moments of humor truthfully so that they land as funny rather than caricature-nonsense. There’s a very sincere duet— “Do You Love Me?” between Bruns and Rebecca Stryker (as Golde) and the pair have an earnest feeling of love and affection for one another while having perfect voices marrying together in the song. Stryker has a lovely voice and nails the nagging components of the character, but much along the lines of Sam Bishop’s Fyedka, she’s very, very modern and her Golde feels like it’s situated in a 2010-adaptation/reimagining, while everyone else is in 1910. But that aside, her scenes with Tevye are humorous and enjoyable. Where Bruns succeeds in truly making the character his own is with his flare. You see it when he’s stumbling around drunk the morning after “To Life” but you most definitely see it during “If I Were a Rich Man.” Bruns is strutting and bum-bum-shaking (it’s a half-step from Tevye-twerkin’ in the club and the audience is LOVING IT.) Bruns has a strong, well-toned voice and keeps his chosen vocal affectation carrying consistently both when singing and when speaking.

It’s a tradition! All the families coming together from all over Howard County to be a part of the annual summer show at HCST, and this year is no different! It’s a joyous choice for their 50^th production (and their third time to Anatevka!) Catch them closing weekend— June 24-28^th 2026!   

Running Time: Approximately 2 hours and 40 minutes with one intermission

Fiddler on the Roof plays through June 28^th 2026 with Howard County Summer Theatre in the auditorium of Marriotts Ridge High School— 12100 Woodford Drive in Marriottsville, MD. Tickets can be purchased at the door (cash only) or in advance online.

*Orchestra features: Nina Feeney on piano, Kelly McVicker, Rachel Daudelin, and Kate Mankowski on viola, Karissa Strawley on French horn, Teddy Hersey on bass, Elise Donald, and Carrie Price on cello, Zoe Desmond, Emma Russalesi, Cameron McLaren, Katie Davis, and Susan Beck on violin, Jonathan Gibson on drums, Randy Whittenberger, Tim Freerksen, and Alex Perez on trumpet, Noah Offenbacher and Jeremy Yager on trombone, Jeanette Donald, Stephanie Richmond, Stephanie Taylor, and Tom Zong on woodwinds.

**The Villager Ensemble (some of whom also play minor named roles):

Jeff Adams, Taylor Ballard, Heidi Bertaux, Paul Bohn, Michael Bounds, Marcy Burkom, Maizy Burkom,  Matt Cannon (as Constable), BreeAnne Chadwick, James Ciborowski, Allison Ciborowski, Hails Clapsadle, Laural Seivold Clark, Maria Comberiate, Amy Comberiate, Emily Comberiate, Max Comberiate, Lee Conn, Isabella Corona, Sandy Cromwell, Jeff Dibble, Olivia Dibble, Cheryl Faber, Mitch Fishbein, Natalie Gales, Stephanie Gertler, Tony Gilbert, Gary Grabau (as Avram), Caleb Graham, Elliot Graham, Hannah Graham, Talia Greenblatt, Jack Halstead, Matt Halstead (as Nachum), Ashley Hartman, Christopher Hobson, Katie Houston, Kate Jacob, Pete Johnson, Lindsay Johnston, Melissa Jones, Jacob Kempic (as Yussel), Doug Kook (as The Rabbi), Miriam Kook, Faye Liberatore, Rachel Lin, Elizabeth Maeshiro, Henry Maeshiro, Chris Pfister McComas, Kelsey McDaniel, Terry Muldoon, Taylor Murphy, Loni Nelson-Bounds, Jonathan Olson, Luke Pinsky (as Mendel), Bill Pond, Susan Powers, Matthew Rouch, Amy Rubin (as Shaindel), Abby Saitta, Lauren Sampson, Allison Sapp, Joe Sapp, Tess Silverman, John Luke Skiles, Rachel Somerville, Leslie Stroud, Liz Stroud, Douglas Thomas, Jacob VanderVat, Kristin Vucina, Debbie Watts, Chris Wilhelm (as Mordcha), John White, David Zotian.