Ariel Neydavoud (as Perchik) dances with Lily Burka (as Hodel, his bride) in Fiddler on the Roof at Arlington’s Signature Theatre. The theater-in-the-round production runs through Jan. 25. Photo by Christopher Mueller

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Fiddler on the Roof, the 1964 musical based on stories by Yiddish-language author Sholem Aleichem, is back.

The theater-in-the-round revival at Arlington’s Signature Theatre, which runs through Jan. 25, is superb. Directed by Joe Calarco, Signature’s Fiddler on the Roof will win the admiration of those old fans as well as newcomers to this important staple of American musical theater.

The familiar plot begins with the poor, hardworking milkman Tevye, who lives in the Jewish village of Anatevka. He has five daughters who have no dowry. Tevye (Douglas Sills, summoning up every human emotion possible in his well-rounded portrayal of the beloved character) is confronted by various challenges to his beloved “Tradition” (sung brilliantly by the cast in the opening number).

His daughters are often at the center of these challenges to tradition, as they contemplate marrying without the consent of a matchmaker, marrying without their father’s permission, and, in one case, even marrying outside the faith.

Outside pressures to tradition mount as well, with persecution by the tsar as well as political unrest, both of which threaten to disrupt the traditional ways of Anatevka.

Tevye, especially in the portrayal of Mr. Sills, shows a surprising flexibility to change, within limits, and at times responds to it with openness and humor.

First, he finds a clever way to support his daughter Tzeitel (Beatrice Owens) and her poor tailor fiancé Motel (Jake Loewenthal) against a lucrative marriage that he himself has had a hand in arranging (“Tevye’s Dream”). He also defies tradition at a wedding by dancing with his wife; he is willing to listen to the radical Perchik’s challenges to the status quo. He even hires Perchik to teach his daughters, another break with tradition.

Yet he is concerned about changing too much: “If I bend that far, I will break.” This resistance to modernity is common in many cultures, even today. (For those wishing to learn more, Signature’s playbill features a QR code which helps explain Jewish traditions, from the wearing of the tallit, or prayer shawl, to the breaking of a glass at a Jewish wedding.)

Memorable characters

Many colorful characters live in the village, including Lazar Wolf (well depicted by Jeremy Radin), the rejected suitor of Tevye’s daughter Tzeitel, who forms a love-hate friendship with Tevye; Yente the matchmaker (engagingly enacted by Susan Rome, who also plays Grandma Tzeitel in “Tevye’s Dream”); and Golde, Tevye’s wife, portrayed by Amie Bermowitz, who shines in a poignant duet “Do You Love Me?” with Mr. Sills.

The top-notch acting, as well as sweet, tuneful melodies and the klezmer-influenced music of a coterie of musicians under the direction of Jon Kalbfleisch, never disappoint.

Theme of true wealth

The music is especially important to this production, as there are virtually no sets and limited props. With excellent music and character depiction, the production leads one to contemplate the play’s important questions.

Respect and leadership in the village of Anatevka seem determined by learning (the Rabbi) and moderate wealth (Lazar Wolf). The poor milkman Tevye has neither. Why, then, is he seen as a leader in his community, commanding great respect?

Partially this is due to his delicate, cordial relations with the constable (Davis Wood), representing tsarist authority. Yet it may also be that his desire for wealth (expressed in “If I Were a Rich Man”) is based on his longing for leisure time to pursue learning.

Or perhaps Tevye’s authority comes from his relative success in balancing tradition with change, much like the fiddler’s delicate balancing act while performing on a roof. Marc Chagall’s 1913 painting “The Fiddler” may have inspired the title of the play.

The eponymous fiddler (portrayed by excellent violinist Jennifer Rickard), occasionally takes the spotlight; at times, Tevye waves and addresses her. Since the figure is an important character and metaphor in this play, perhaps she might have been better presented in period costume like the other characters on stage. Then again, maybe I am resisting change.