Harvey Fierstein in Fiddler on the Roof. PHOTO CAROL ROSEGG

A perennial hit since it first opened its Tony Award-winning 1964 production (directed and choreographed by Jerome Robbins), Fiddler on the Roof has enjoyed great critical acclaim. Overall, this passionate story is about the ups and downs of family life. Family life, that is, in Russia in a small town or shtetl called Anatevka where tradition gets challenged by time and new ideas. In that sense, it could be any family trying to hold onto its ethnic culture but must adapt to the reality of living in a country that wishes they didn’t exist at all. 

Based on tales by the great Yiddish writer Sholem Aleichem, Fiddler tells the story of Tevye, a poor Jewish dairy man, father of five daughters (oy!) and husband to Golde (who he met the day he married her, and was chosen by a matchmaker). Tevye has a habit of talking not just to anyone who will listen — the audience and that funny fiddler on the roof (played by Arthur A. Atkinson) — but also to the Lord above, a traditional way of praying in that part of the world. Given a horse that never seems able to work a whole day, daughters who defy his wishes to marry the men he (and the matchmaker) chooses for them, and an edict that evicts the town’s entire Jewish population, Tevye has the not-necessarily-asked-for opportunity to grow spiritually. Paradoxically, it is the enforced loss of the rigid traditions and home life that leads the family to reconcile and draw closer still.

One challenge to attending a popular production is that one is surrounded not only by music coming from the stage and accompanying orchestra (ably conducted by David Andrews Rogers) but also by the humming-along in the audience. Yet so familiar are the wonderfully composed lyrics by Sheldon Harnick and music by Jerry Bock. And this current production is aptly named part of the Best of Broadway. It IS one of their best!

Gravelly-voiced Harvey Fierstein inhabits the role of Tevye completely, davenning (rocking on his feet back and forth a little) as any observant Jew would, embodying Tevye’s very essence. He’s played the role before on Broadway, and his experience, appreciation, and visceral understanding shine through, bringing much laughter as he carefully turns a phrase as well as tears from Tevye’s very hard choices. 

Equally strong, especially vocally, are his three elder daughters Tzeitel (Rena Strober), Hodel (Jamie Davis) and Chava (Deborah Grausman), who bring rich feeling to all their shared performances and in the scenes with the men they have chosen: Motel, the Tailor (Erik Liberman); Perchik, the Student (Colby Foytik); and Fyedka (Eric Van Tielen). In “Miracle of Miracles”, Motel evolves from frightened boy into a man before our very eyes.

Hodel’s “Far from the Home I Love” is a heartbreaker. Susan Cella’s Golde comes most alive in the duet “Do You Love Me,” and Yente the Matchmaker (Mary Stout) is a very busy busybody! David Brummel makes a strong, respectable Lazar Wolf. The ensemble works together like clockwork, and the only kvetching this observer has is that some of the choreography (by Sammy Dallas Bayes, also the director) has a bit too much repetitive hand clapping which is hard to believe came straight from Robbins’ original. 

All in all, this Fiddler on the Roof is a real “feel good” experience which has you humming its fabulous tunes afterwards. And what’s the matter with feeling good once in a while?

Fiddler on the Roof continues (Tuesday to Sunday, various times) until Feb. 21 at the Golden Gate Theatre, 1 Taylor Street, San Francisco. Tix ($30-$99) call (415) 512-7770 or at shnsf.com.