Photos provided by Joan Marcus

With a heritage stretching back over five decades, “Fiddler On The Roof” is always bankable in the Big Apple or on the road, so much so that its current tour comes as an extension of a fifth Broadway revival. That’s obviously more than most, but considering it took home a Tony Award for “Best Musical” and eight additional trophies at the 1964 ceremony yet retains its relevance today, it’s no wonder why it’s been able to transcend generations.

So whether singing along or soaking it all in, the current edition of “Fiddler On The Roof” strikes the right notes and could stand to teach burgeoning musicals hoping to reach similar status exactly how to keep the lights on for so long.

That’s because it’s split between older folks who guardedly cherish their customs and children who are challenging those very foundations in an attempt to forge forward in an evolving society. Specifically, it all takes place in Imperial Russia in the early 1900s when a poor Jewish village is gradually being driven away, but it can easily apply to any political climate or neighborhood with any array of prejudices, or in the case of this main character, a fiercely protective father named Tevye (the credible Yehezkel Lazarov) who seeks what he believes is best for his daughters, but doesn’t necessarily agree with their choices for husbands.

Actually, the fact that the girls have a say in their marriages at all is quite liberated compared to the time period’s usual way of thinking given that matchmakers arranged those sort of details, and even though the meddling Yente (humorously portrayed by Carol Beaugard) tries diligently to do just that, it falls on the deaf ears of young ladies looking for genuine love rather than strategizing a climb up the social ladder.

But it doesn’t matter anyone’s age, ethnicity, religion, culture or class in the crowd since “Fiddler On The Roof” can apply to anyone who’s ever experienced forbidden love or attempted to defy convention of virtually any kind. Of course, there’s a lot to learn from both sides of the discussion (at least for those willing to listen), but lest the subject matter get too heavy during those moments, comic relief comes fairly frequently.

Though the show runs on the long side at almost three hours (including intermission) and could easily be trimmed by at least 20 minutes, it moves fast enough through its pivotal scenes to hold the audience’s attention, enhanced by a beloved soundtrack stacked with “Tradition,” “Matchmaker,” “If I Was A Rich Girl,” “To Life” and “Sunrise, Sunset.” So whether singing along or soaking it all in, the current edition of “Fiddler On The Roof” strikes the right notes and could stand to teach burgeoning musicals hoping to reach similar status exactly how to keep the lights on for so long.

“Fiddler On The Roof” continues at the Cadillac Palace Theatre through Jan. 6. For additional details, visit FiddlerMusical.com and BroadwayInChicago.com.

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