‘Fiddler’ works its will in thoughtful Spinning Tree production

The simple fact of the matter is that “Fiddler on the Roof” always gets to me.

It’s easy to point out the individual components that make this a classic show — Jerry Bock’s evocative score, Joseph Stein’s vivid dialogue, Sheldon Harnick’s poetic lyrics. But there’s a kind of alchemy at work when these contributions come together.

With equal parts humor and tenderness, the show asks us to consider nothing less than the meaning of life in its depiction of a Jewish village in imperial Russia whose collective wish (in the words of the local rabbi) is for God to bless and keep Czar Nicholas II far, far away from them.

The show, based on the stories of Sholem Aleichem, depicts the personal trials of Tevye, the long-suffering dairyman who is repeatedly asked to question his belief system as three of his five daughters choose unconventional husbands in defiance of long-standing tradition. Tevye, of course, is an iconic character of the Broadway stage whose appeal transcends the historical and cultural specifics of the story.

The fiddler of the title, as Tevye explains in his opening monologue, is a metaphor for any people who maintain optimism in the face of adversity. That optimism, we recognize in the final moments of the show, will see these villagers through as they are dispersed into world in one of the czar’s pogroms.

Spinning Tree Theatre tapped Gary Neal Johnson, who ranks among the city’s most respected actors, to step into Tevye’s boots for its affecting production at Just Off Broadway Theatre. Johnson’s immersion in the role appears effortless as he combines depth of feeling and flawless comic timing to bring Tevye to life.

Andrew Parkhurst and Michael Grayman, who co-directed and co-choreographed the show, surround Johnson with a big company of talented performers who fill the relatively intimate Just Off Broadway with life and color. “Fiddler” requires an enormous cast and in the big numbers virtually every inch of the stage is filled by actors and dancers.

But watching this show in a small theater gives viewers a unique perspective. In the quieter moments, the actors are able to achieve an intimacy that simply wouldn’t be possible at Starlight or the Music Hall.

Julie Shaw brings her customary poise and underplayed sense of humor to Golde, Tevye’s perpetually exasperated wife. The three principal daughters are played memorably by Kami Rogers as Tzeitel, who marries Motel (Bob Wearing), the tailor, after compelling her father to negate his marriage agreement with the local butcher; Sara Belhouari as Hodel, who falls in love with the young radical teacher Perchik (Mead D’Amore); and Megan Herrera as Chava, who breaks Tevye’s heart by marrying a young Russian, Fyedka (Seth Macchi).

T.J. Lancaster stands out as Lazar Wolf, butcher, alongside strong supporting performances by Nancy Nail as Yente the Matchmaker, Trevor Belt as the Rabbi, Devin Burns as Mendel (the Rabbi’s son) and Michael Golliher as Mordcha (the inkeeper).

The small band, led by musical director Angie Benson on keyboards and accordion, shows just how good Bock’s music is without lavish orchestrations. Jonathan Lloyd Schriock is the Fiddler and plays his instrument with authoritative ease. Kudos to sound designer Jeff Eubank for keeping the many voices and instruments in proper balance throughout.

Matt Mott’s scenic design is spare but effective awhile Kate Mott’s costumes, though grounded in reality, at times shimmer with color. Making a particularly potent contribution is Shane Rowse’s lighting design, which is by turns vivid and nuanced.

In essence, this show is about the inevitably of change. Tradition is always vulnerable to historical forces. We can plan our lives but never predict the future. This production articulates those themes beautifully.