Fiddler: A Miracle of Miracles is a 2019 American documentary film about the creation and significance of the 1964 musical Fiddler on the Roof. Directed by Max Lewkowicz, it features interviews with Fiddler creators such as Jerry Bock, Sheldon Harnick, Joseph Stein, and Harold Prince, as well as scholars, actors, and other musical theatre figures such as Stephen Sondheim and Lin-Manuel Miranda. The documentary includes rarely-seen footage of the original Broadway cast as well as interviews with creators, actors, theatrical figures, and scholars.^[1][2]

This film is dedicated to the memory of Harold Prince, who died during production.

Through the presentation of first-hand accounts, archival footage, and analysis by scholars and prominent musical theater figures, Fiddler: A Miracle of Miracles explores the creative process and cultural significance of the Broadway musical Fiddler on the Roof. First-hand accounts chronicle the personalities of the original Broadway cast and creators. Scholars examine the play's themes of xenophobia, gender equality, civil rights, and religion. These themes are used to contextualize the musical and its cultural impact within the lens of 1960s New York. Jewish actors discuss the play's impact on their identity. Interviews with productions from around the world demonstrate the universal appeal and international legacy of the play.

• Max Lewkowicz- Director/ Screenplay
• Valerie Thomas - Screenplay
• Tess Martin - Animation
• Joseph Borruso - Editor
• Jan Lisa Huttner - Story Consultant
• Alisa Solomon - Story Consultant

Fiddler: A Miracle of Miracles received critical acclaim. On Rotten Tomatoes, it has a 98% approval rating, based on 47 reviews, with an average rating of 7.5/10. The website's consensus reads, "Fiddler: A Miracle of Miracles takes a delightfully engaging look at the history of a beloved musical and its deep cultural impact."^[3] On Metacritic, it has a score of 80 out of 100, based on 11 critics.^[4]

Peter Travers, reviewing the film for Rolling Stone, gave it a rating of four out of five stars and called it "essential viewing".^[5] In a review for The New York Times, Jason Zinoman praised the film's ability to portray the early days of Fiddler's composition, but noted that it avoids "any serious grappling with criticism of the show".^[6]