You have probably seen a stage production or the movie version of 'Fiddler On The Roof."

Even so, you have probably not seen a "Fiddler On The Roof" as fine as that of Pennsylvania Shakespeare Festival's (PSF) 50th anniversary production, through June 29, Main Stage, Labuda Center for the Performing Arts, DeSales University, 2755 Station Avenue, Center Valley.

The PSF show is absolutely stunning on a number of levels, starting with the extraordinary performance of Joe Vincent in the lead role of Tevye, the Jewish farmer who yearns to be rich, but learns and accepts otherwise.

Life lessons are at the heart of "Fiddler," based on the short stories of Sholem Aleichem, a Ukrainian native. The musical's book by Joseph Stein sets the story in Anatevka in 1905 before the Russian Revolution. The music by Jerry Bock and lyrics by Sheldon Harnick encapsulate the philosophy, emotions and life of the main characters.

The musical is front-loaded with its best-loved numbers in the mostly upbeat and humorous first act. The second act is more melancholy and serious as the Jews face their fate at the hands of the Czar's minions.

While there are several storylines, the play centers on the love stories of Tevye's three daughters set against a changing Russia with the main story about the transformation of Tevye in his dealing with change. Vincent not only plays the role with immense humanity, his robust and versatile voice plumbs the depth of meaning in dialogue and song. This is a sensitive interpretation, far from the buffoon as Tevye is sometimes portrayed.

Director Dennis Razze, PSF associate artistic director, opens the show with a rousing "Tradition," led by Tevye (Vincent) and the Ensemble, backed by a 16-piece orchestra conducted by Music Director Nathan Diehl. The high-powered all-dancing entrance, giving us a taste of the vibrant choreography by Stephen Casey that permeates the show, showcases three of the most invigorating songs.

"Matchmaker" matches Tevye with his three eligible single daughters: Tzeitel (Jennifer Apple), Hodel (Leah Scofield) and Chava (Christine Baglivio).

This sets up Tevye's most strident, and comical, lament, summing up one of his many arguments with God, "If I Were A Rich Man." Vincent makes the song his own, with subtle intonations, sprightly dance steps and an overall sense of resignation. This number alone is a tour de force for Vincent.

As if that couldn't be topped, Tevye returns with Lazar Wolf (a wonderfully subdued John Ahlin), Sasha (a memorable Sean Bell), and the male Ensemble members for "To Life," a joyous invocation of all that it is to be human.

Razze and his production crew pull out all the stops for "The Dream," with incredible effects by Lighting Designer Eric T. Haugen, Sound Designer Ian P. Carr and Set Designer Will Neuert. The scene is hilarious and incredible all at once.

"Sunrise, Sunset" provides a perfect contrast, a respite of longing and wisdom, with Tevye, his wife Golde (a fine Anne Kanengeiser), Hodel, Perchik (Jonathan Raviv) and the Ensemble.

The first act concludes with the "Wedding Dance," whereby the wedding party's men dance with bottles balanced on their hats. This is truly amazing. The bottles are not attached (I asked). There is no trickery. Just skill, emblematic of the entire PSF production.

Will Neuert's set, with its cozy pop-open house huddled under a foreboding border of houses seemingly uprooted as trees by the tornado of history and back-dropped by a circle of the village skyline, symbolizes a Marc Chagall-inspired sense of displacement and dream-like fancifulness.

Costume Designer Sam Fleming fervently replicates the attire of the ghetto, with seemingly lived-in clothing that attests to hard work.

Among the many stellar performances in PSF's "Fiddler" are charming and whimsical turns by Patti Mariano as Yente the Matchmaker and Bob Cohen as the Rabbi. Oh, and there's also the truly bizarre: Amanda Steckerl as Grandma Tzeitel and Valerie Berger as Fruma-Sarah.

If you've seen "Fiddler on the Roof," don't miss PSF's stupendous production. You will gain renewed understanding not only of the play, but of struggles and triumph. Indeed, PSF's "Fiddler" is triumphant.