On Theater:

EDITOR’S NOTE: Tom Titus’ son, Timothy, wrote this week’s column.

Conflict between generations is inevitable. The young, in their unchecked excitement, constantly challenge the stodgy old rules set up in them by their parents. At some point, the old must bend their cherished values just a bit, and the young must find respect for the wisdom of their elders.

“Fiddler on the Roof,” the classic musical now playing at the Orange County Performing Arts Center, examines these themes on multiple levels. Tevye, the poor old milkman from the traditional Russian Jewish community of Anatevka, is constantly faced with successive challenges to his beliefs from his love-struck daughters, from ambitious outsiders and from his anti-Semitic country.

Balanced like the title’s musician between tradition and progress, Tevye must decide when to keep playing his song and when to stand his ground. The result is a humorous, thoroughly pleasurable, yet touchingly poignant examination of the hills and valleys of that one famous word — tradition.

And speaking of tradition, there are few theatrical experiences to compare with watching Topol, star of the 1972 film, in the central role of Tevye. The master truly relishes his role, and he knows every nook and cranny of the character. Most impressive about his performance is his subtlety, which makes every movement and facial expression completely intentional, natural and believable. Through this, Topol effortlessly conveys Tevye’s every high (“To Life”) and low (“Anatevka”).

Topol remains absolutely vital in his role. His voice still resonates, his emotions are pure, and his dance is joyful. Witnessing him play Tevye is like watching Michelangelo sculpt David, a true virtuoso displaying a living, breathing, work of art to eager audiences.

Working with Topol is a fine ensemble cast. Susan Celle is wonderful as Tevye’s endearingly dominating wife, Golde. Celle is appropriately commanding, yet tender to her family — even her husband — in exactly the right moments.

Tevye’s three oldest daughters light up the stage as they challenge the cherished traditions in successively more difficult ways. All three do a fantastic job of moving their characters through their arc from youthful innocence to infatuated rebellion.

Rene Strober has perhaps the most difficult assignment as Tzeitel, the oldest daughter. Tzeitel’s story carries most of the first act, and Strober lives up to the challenge wonderfully. She perfectly walks the line between Tzeitel’s respect for her father and adamant love for the tailor Motel (played adorably by Erik Liberman). The moment where she finds out that she has been promised to another is heartrendingly priceless.

Jamie Davis is almost show-stopping as the middle daughter, Hodel. She has a beautiful voice and does a perfect job at showing her squeamish fascination with the new ideas bursting into her community. Unfortunately, she is paired up with Colby Foytik’s bland rendition of Perchik. Foytik nails the student’s exuberant activism, but he never softens in his romantic moments with Hodel, leaving the poor actress to fumble with chemistry that just is not there.

The more tragic love story of Chava and Fyedka is well-played by Deborah Grausman and Eric Van Tielen. This story arguably is the deepest of the three, but the script gives the characters little chance to dig into it. The couple do an admirable job with what they are given.

The rest of the ensemble is excellent. Mary Stout is a hilarious joy in her “dream role” of Yente, the matchmaker. David Brummel plays the jilted Lazar Wolf with an appropriate anger masked by stoicism. The bottle dancers (Matthew Kilgore, Rick Pessango, Robbie Roy and Matthew Rossoff) never fail to impress and are a definite highlight of the show.

The entire production is faithfully directed and choreographed by Sammy Dallas Bayes. Bayes painstakingly has recreated the original Jerome Robbins choreography, effectively maintaining the cultural, religious and musical integrity of the piece.

While it may break Anatevka tradition, I say “hats off” to Topol and “Fiddler on the Roof.”

If You Go

WHAT: “Fiddler on the Roof”

WHERE: Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa

WHEN: 7:30 p.m. Tuesday through Friday, 2 and 7:30 p.m. Saturday, 1 and 6:30 p.m. Sunday through Aug. 23

TICKETS: $20 to $80