By Matt Moore
Fans of Upper Room Theatre Ministry know that it’s a powerhouse regional theater located in Manassas, Virginia. The production team and casts are consistently outstanding. And this year, the theater is at the top of its game with the short-running but incredibly entertaining Fiddler on the Roof! Fresh off 11 BroadwayWorld awards including “Best Musical of 2025” and “Favorite Local Theatre,” Upper Room staged this milestone 25th-anniversary production with unparalleled excellence.
In case you don’t know the show (really?), let’s set the stage: In the village of Anatevka, Tevye the milkman must balance ancient traditions with his daughters’ modern dreams as their world changes around them. Like a fiddler on the roof, he finds himself in a precarious position, trying to maintain what matters most while everything shifts beneath him. As his three daughters challenge age-old customs and outside forces threaten their way of life, the entire community must discover what truly endures: the rules that bind us or the love that sustains us.
Created by the legendary team of Jerry Bock (music), Sheldon Harnick (lyrics), and Joseph Stein (book), this Tony Award-winning musical has touched hearts worldwide for over 60 years with unforgettable songs like “Tradition,” “Matchmaker,” and “If I Were a Rich Man.” Upper Room Theatre’s production features a professional live orchestra, stunning period costumes and sets, and theatrical veteran Jim Lawson bringing decades of stage experience to the role of Tevye. Lawson’s extensive career includes performances at the National Theatre, Olney Theatre Center, and Round House Theatre, making this milestone production even more special.
The first thing you’re greeted by when you enter the state-of-the-art theater space is an extraordinary set, designed by James Maxted and artistically brought to life by Laura Ponder. This multi-level unit set features a balcony, practical stairs, and intricate period details that are featured by Bella Hall’s beautiful lighting design (more on her work later). Every detail was carefully thought out and crafted to build a set that not only brought the story to life but allowed for lightning-fast transitions and quick coordinated actor movement on and off stage. This is very appreciated, as there’s little to no down time for the audience — it’s a nonstop ride filled with snappy precision. Take special note of the excellent work with the two scrim panels. Too often scrim is not hung or lit well — and Upper Room Theatre handled the scrim just right to maximize both space and story.
And what a story it was. Director Robert Tessier has done two things extremely well. He executed flawlessly on his overall vision, creating a world that was both rich and deep. Every detail was thought out and well-coordinated, allowing for a seamless integration of sight, sound, and emotion. Character development was extraordinary, with the incredibly talented and hard-working cast of 32. The blocking was clean and character-driven, with excellent drawn focus by the lighting and technical elements. “The Dream,” for example, was a notable example of how all the elements of production — character, music, choreography, set, costume, lighting, and production management — can come together to craft something unforgettable. Watch out for the short but hilarious “Mrs. Bates” moment (a call-out to the Hitchcock movie, Psycho) leading into this scene. Carolyn Scott (Fruma Sara) and Laura Mills (Grandmother Tzeitel) led this scene with over-the-top hilarity.
Second, Tessier has created an incredible team. Over 40 professionals have been involved with the production. Music director Chris Zavadowski shined, with exceptional vocal precision by the leads and ensemble. Notable moments include the beautifully blended “Sunrise, Sunset,” and “Anatevka,” where the cast fills the room with sweet, sorrowful sound. Zavadowski brings out the best in his performers and orchestra through a balanced and disciplined approach that makes every note count.
Choreography was developed and executed by award-winner Marianna Constable and her assistant Abby Chaumant. Upper Room Theatre’s version of Fiddler includes the classic moments — the famed bottle dance brought gasps and cheers. The bottles were weighty and not held in place by magnets or tricks, instead staying balanced through the high and low acrobatic movement through sheer discipline and will. And it wasn’t just the ensemble numbers that sparkled. Solo ballet performed by Chloe Steverson (Chava) brought tears to the eyes. Constable has the wonderful skill in telling a story through movement and is an incredible asset to the program.
Lighting was practically a character by itself. Bella Hall is an emerging new talent in lighting design, and she reached levels that would be envied by large professional theaters. The combination of color and texture, woven in with clear isolations and excellent mood development shows Hall to be a force to be reckoned with. Costumes, designed by award-winner Kyna Chilcot, walked the delicate balance required that showcases exceptional realism and creativity while at the same time not distracting from the story. Props, led by Renée De Ponte, were on-point, accurate, whimsical yet well integrated.
One additional note is the sound design. So often in community theater, sound really is the foil. Not so at Upper Room Theatre. Emmy Award winner Jim DeVaughn and his team created a wonderful soundscape, with a perfectly equalized and balanced orchestra and ensemble that was a pleasure to hear.
Performances were amazing. Truly. And the entire cast was anchored by the passionate, hilarious, and incredibly believable Jim Lawson, whose rich baritone filled the space with beauty. His acting was top-notch, and his character choices (look out for Tevye’s characteristic “Eyyyyychh!”) elevate Tevye from an icon to a real man dealing with real struggles. It isn’t often that an entire audience can identify with and fall in love with a classic character. Lawson’s fresh take — and his clear connection with his fellow performers as a leader on and off stage — roots the audience into the story as if you’ve never seen the show before.
It would be hard for most actors to keep up with Lawson — he is an incredibly powerful performer. But Renée De Ponte (Golde) not only stayed with him step by step but shined brightly in her own right and provided Lawson with incredible gifts to work with. Her clear, strong mezzo and great character acting show why this Jimmy-award-winning talent catches the eye and holds it throughout the show. You’ll especially love “Do You Love Me,” where De Ponte’s signature subtlety makes the moment.
Ben Phillippart (Mottel the Tailor) is adorable, presenting a softer and more pliable Motel than you’ve probably seen — but anyone with a strong father-in-law like Reb Tevye can identify. Nouwen Doyle (Tzeitel) is new to Upper Room Theatre but brings a very experienced performance history with her, and this shows in “Matchmaker” and other moments throughout. The chemistry between audience favorite Joshua Ewalt (Perchik) and Maggie Saffian (Hodel) is both sweet and engaging. Ewalt and Saffian are seasoned lead actors with unparalleled skill and discipline on stage. Daniel Ferguson (Fyedka) adds a texture to the production both optimistic and reflective. Ferguson has a clear and beautiful voice as well. His soft and gentle adoration of Chloe Steverson (Hodel) adds a much-needed tenderness. And Steverson is incredible to watch on stage, with a broad range of dramatic and comedic moments that both tickle and break your heart.
The no-small-actor awards go out to WATCH-Award winner Scott Pierce (Rabbi), whose foggy-headed exaltations bring both comedy and wisdom in equal measure. Andy Braden (Constable) was the kind of character you love to hate. His bearing and attempts to mitigate and manage his government’s atrocities leave you wondering about the past as well as reflecting on our own world. David Hunter (Mordcha) was big and bold and everything you want in an innkeeper. Anthony Smitha (Lazar Wolf) portrays a jilted and somewhat unpleasant butcher with technical skill and fun. Brian Donohue (Avram) sparkles on the stage. And who could forget the ever-present, always nagging, iconic character of Yente — excellently played by Debra James — who locks in the entire show throughout past and present.
There are too many great performances to name them all — but one final shout-out to John Ross (Fiddler). Many productions really don’t emphasize the Fiddler. But John Ross would not be ignored. His sweet, incredible use of the instrument, his unbelievably detailed hand-painted costume, and his lovable expressions brought this title character to light in new and wonderful ways. Watch for the very end of the show, with the incredibly powerful interaction between Ross and Lawson, which brings the entire two and a half hours together in a way you’d never expect.
Upper Room Theatre’s Fiddler on the Roof is a triumph. Many nights of this limited run are already sold out. Get your tickets now for this incredible production that Tessier and the entire Upper Room Theatre team have truly brought “To Life!”
Running Time: Two and a half hours plus an intermission.
Fiddler on the Roof plays through July 26, 2026, presented by Upper Room Theatre Ministry, performing at the All Saints Performing Arts Center, at All Saints Catholic Church, 9300 Stonewall Road, Manassas, VA. Tickets can be purchased online.
Matt Moore is the founder of Triune Entertainment, LLC. He is a professional director, a Fellow of the Royal Society of the Arts in London, and a member of the Dramatists Guild.
