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Culture and tradition keep a people alive. These two pillars of a race even serve their purpose by making people realize that these should be entrenched in their being for them to be useful, productive mortals on this earth.

Such was the underlying theme of the recently staged musical play, “Fiddler on the Roof” which took Dumaguete by storm again even if it was on its fourth time to be mounted at the Luce Auditorium of Silliman University .

Not only did the musical touch base on culture and tradition, but more so on the immortal themes of love over family and happiness over norms dictated by society. But, isn't love also part of our culture and tradition? In fact, if we go by the sometimes mushy greetings (read: commercialized) in department stores today, what with the onset of another tradition – the celebration of Valentine's Day the world over – love is, indeed, one of the best kept traditions any people can ever imagine to experience. Who was it who said that, “It is better to have loved and lost, than never to have loved at all?”

“Fiddler on the Roof,” from the book by Joseph Stein based on Sholom Aleichem's Stories, with music by Jerry Beck and lyrics by Sheldon Hornick, is a touchingly funny musical, which universalizes the experiences of one family, one people who face a changing world. The story is set in Anatevka, a liitle village somewhere in the far reaches of Russia , sometime around 1905, just before the Revolutionary Period.

Looking around the village one day, Tevye, the milkman, sees how much his life is ruled and regulated by the Jewish tradition of his people. Necessary adjuncts to this tradition are the Rabbi, Yente the Matchmaker, the papas, the mamas, the sons, and the daughters, who each have a role to play set by tradition. Even the way they eat, dress, and pray is oh, so traditional.

However, change is in the air and Tevye goes home to find that he has to choose between upholding tradition by making his daughters marry men of his choosing or by letting them marry for love. Although he is conservative, Tevye is also compassionate and would rather see his daughters happy than secure in material possessions. This leads him to literally dream up ridiculous situations in order to convince his wife, Golde, that their daughters' love matches are made in heaven.

In order to awaken the village people to the significance of the disturbances around the village and to the events of the outside world, Perchik, a student from the university, comes to Anatevka. He is able to introduce a few changes in the village such as, dancing with a girl and holding her in public. These changes are accepted by the villagers after a little struggle; as for the rest of the battle, Perchik's foe stands strong – tradition.

“Fiddler on the Roof” is, by itself, a tradition in Dumaguete. Historically, it was first performed at the Imperial Theatre, New York, on September 22, 1964; produced by Harold Prince with direction and choreography by Jerome Robbins, set by Boris Aronson, costumes by Patricia Zipprodt, and with Zero Mostel as Tevye, Maria Kamilova as Gole, and Beatrice Arthur as Yente.

In Dumaguete, the play was first performed at the Luce Auditorium as a commencement production in 1975. Twenty years later, it was again presented to commemorate the inauguration of the Luce Auditorium. Thus, it had a repeat performance during the 1995 Founders Day. It was again staged during the centennial celebration of Silliman University in 2001 with a total of five performances in the month of August.

“Fiddler on the Roof” has always drawn community interest because it offers the opportunity for talents from various age groups to experience acting as well as enjoy the camaraderie in a large cast.

There are also milestones in this year's production. For example, baritone Dominador de los Santos has reprised the role of Tevye three times already and Evelyn Aldecoa, who teaches speech and theater arts at Silliman University and now has founded Prism Amateur Community Theatre, played the role of Golde in 1975 when she was yet a student, and directed the 1995, the centennial production, and this year's restaging. Her challenge is double this year because not only did she direct the play, she also did justice to the role of Yente, the matchmaker.

As she noted, no cast exhibits the same degree of energy or the amount of talent. “After 18 weeks of rehearsals, singing, and dancing practices, of making priorities and sacrifices, of sweating it out in the Luce ‘sauna' as is the case when the lights are on, but the airconditioning system is off; of cramming for exams and projects in the dim backstage lights; we have come to see the fruits of our labor. Then, we realize it wasn't all that bad because we also had 18 weeks of fun and laughter, friendships, and the privilege of being a part of this once-in-a-lifetime special presentation,” Aldecoa recalls.

The play was also in memoriam of some cast members who have passed on, like Nelly Romano Aldecoa, Evelyn's mother, who was Grandma Tzeitel in 1975; Ephraim Bejar, former speech and theatre arts professor of Silliman University, who was the Constable in 1975; Ma. Lorelei Ybañez, who was one of the villagers in 1975, with Francis Pring; and Christopher Abella, who played the Constable in 2001, and whose own young son, Zachary, played one of the village sons this year.

Indeed, love and tradition are here to stay, despite economic upheavals, technological breakthroughs, and even climate change.

Just like the people of Anatevka, we also feel the same way about love, relationships, and everything traditional in these modern times. Like the love matches of Tevye's daughters, though radical, are not any indication of bigger changes to come. They are confident in the security of their tradition which was, and is, and always will be.

Let's take our hats off to tradition and greet each other a traditional Happy Valentine's Day!