Fiddler on the Roof in Yiddish Brings Its Quiet Revelation to Toronto – front mezz junkies, Theater News

Frontmezzjunkies reports: Anatevka Arrives at the Elgin: Fiddler on the Roof in Yiddish

By Ross

The internationally celebrated revival of Fiddler on the Roof in Yiddish, performed with English subtitles, arrives in Toronto this spring for a limited engagement at the Elgin Theatre, running May 25 through June 7, 2026. Presented by the Harold Green Jewish Theatre Company, the production is directed by Joel Grey and marks the Canadian debut of a staging that became one of the most talked-about theatrical events of the last decade. For audiences who know Fiddler well, this version offers something both familiar and quietly transformative.

I first saw this production in New York in 2019, admittedly with some trepidation (here’s my review). A Yiddish-language Fiddler sounded, at first, like a conceptual stretch. “Sounds crazy, no?” But as it turns out, the resounding answer is “No, not at all. It’s actually a blessing.” Hearing Jerry Bock and Sheldon Harnick’s score in Yiddish revealed a musicality and emotional texture that felt entirely organic, rather than imposed. The English subtitles functioned not as a crutch but as an added layer of generosity, allowing the sound of the language to wash over the audience while the meaning landed clearly and without effort. The result was an experience that felt intimate, rooted, and surprisingly accessible.

At the center of this Toronto engagement is Steven Skybell (Broadway’s Cabaret), reprising the role of Tevye that earned him widespread acclaim during the original run. In my review, I described Skybell’s performance as “the heart of this less grand production,” noting that it “beats strong, embracing us in his care, his wit, his humor, and his pain.” His Tevye is not defined by bombast or sentimentality but by a grounded humanity that makes the shifting world around him feel both personal and societally devastating. That steadiness anchors a production that favors emotional truth over scale, even as it honors the grandeur of Robbins’ choreography and Stein’s book.

The Toronto cast is entirely and notably deep, with performers including Joey Arrigo, Emma Burke-Kleinman, Jamie Elman, Gabi Epstein, Tracy Michailidis, Theresa Tova, and many others bringing specificity and restraint to the world of Anatevka. The creative team remains largely consistent with the New York production, including music supervisor Zalmen Mlotek, scenic designer Beowulf Boritt, costume designer Ann Hould-Ward, and lighting designers Peter Kaczorowski and Ethan Steimel. Grey’s direction, supported by associate directors Merete Muenter, Staś Kmieć, and Matthew Didner, favors clarity of storytelling and emotional engagement over reinterpretation for its own sake.

What makes this production resonate now, as it did then, is not novelty but its strong sense of purpose. Set against themes of displacement, tradition, and generational change, Fiddler on the Roof in Yiddish speaks directly to contemporary conversations about belonging and cultural memory without forcing modern parallels. As I noted in 2019, the experience “will leave you enriched and enlightened by faith and love,” not because it simplifies the story, but because it allows it to breathe in the language that shaped it.

There is also something quietly liberating in how this production makes space for memory rather than asking us to silence it. I’ve long carried the voices of earlier Fiddler incarnations with me, most indelibly the 1971 film, with Topol’s tender authority and Norma Crane’s earthy warmth etched into my understanding of the show. For years, I’ve found it difficult to fully surrender to new interpretations without feeling as though I’m betraying those formative experiences. What this Yiddish revival offers, instead, is balance. It doesn’t ask me to replace what I love, but to hold it alongside something equally sincere. Hearing Stein’s book and Bock and Harnick’s score breathe in Yiddish, through Shraga Friedman’s delicate translation, feels less like revision and more like homecoming, an expansion of affection rather than a test of loyalty.

For Toronto audiences, this engagement offers a rare opportunity to encounter a canonical musical through a lens that feels both historically grounded and emotionally immediate. It does not attempt to replace the versions we carry with us, whether from film or stage. Instead, it stands alongside them, deepening the conversation. Like all meaningful revivals, it reminds us why these stories endure, and why hearing them anew can still feel revelatory.