A few things in life never change.

People will always run their lives according to their own religion. Families will always follow a personalized set of family values. And there will always be people who express inhumanity to other people.

The incorporation of these timeless traditions are what have given Joseph Stein’s Tony Award-winning inspirational classic “Fiddler on the Roof” its appeal to so many generations.

“[‘Fiddler on the Roof’] is still not outdated,” John Preece, who plays the lead role of Tevye, said. “It’s poignant to everyone.”

The show takes place in Anatevka, a village in czarist Russia with a population consisting of mostly Jewish families. Tevye, a dairy farmer, is a man who values his family and God over everything else, and he is very vocal in communicating his beliefs to others.

As the story begins, the local matchmaker named Yente travels to Tevye’s house to inform his wife that the town’s wealthiest citizen Lazar Wolf wants to marry Tzeitel, Tevye’s oldest daughter.

Tevye later meets Lazar Wolf and agrees to let him marry Tzeitel as long as he provides for her. They begin celebrating the future, toasting “To Life,” but are soon interrupted by a constable who informs Tevye that there will soon be a demonstration held against all the Jews in the district.

Meanwhile, as her father is pledging her hand in marriage to Lazar, Tzeitel is promising herself to the poor tailor, Motel. When Tzeitel tells Tevye of her wedding plans, he is at first shocked that his daughter is breaking the tradition of pre-arranged marriage, but later understands that the love between Motel and his daughter is deep.

Throughout the rest of the musical, other struggles and victories test the faith and perseverance of Tevye’s family, stimulating the audience’s interest about social and family issues while providing intermittent comic relief.

Before the 30-member cast began practicing for the year-long tour, Preece said they had to do lots of research to learn about the attitudes and style of the early 20th century Jewish culture. Because of its studies, it was easier for the cast to understand its role when it came time to learn the choreography and script.

The general attitude of the Jewish people during the early 20th century was one of general security and confidence regardless of their situation.

Preece said the people generally felt like “they’re not too concerned with their lives because God will always pull them through everything.”

This attitude is shown through every facet of the production — even the choreography.

“Every character and movement has a meaning,” Preece said. “Sometimes we get into a circle to represent that the circle is one of the tightest forms.”

At times when the village is being attacked, Preece said the actors form an even smaller, tighter circle to signify unity and an inseparable bond.

The cast of characters in this production of “Fiddler on the Roof” doesn’t really have to form a circle to feel unified. Traveling on the year-long tour (Sept. 17 until June 1999) will most likely provide an adequate amount of time for the cast to bond.

Sometime during the tour, Preece will celebrate his 1000th performance as Tevye. Even though Preece has played the part so many times, he said he hasn’t grown weary of it yet.

“There’s always new surroundings and new dressers,” Preece said. “Sometimes I’ll say the lines a little differently, but the fact is, the script is so good, you really don’t want to mess with it.”

“Fiddler on the Roof,” directed by Sammy Dallas Bayes, will play at Stephens Auditorium Sunday afternoon at 3 p.m. Tickets are $10 for students, and $17 or $14 general admission.