Review: FIDDLER ON THE ROOF, The Alexandra - Tour
Photo credit: Marc Brenner
Fiddler on the Roof may have premiered in 1964 and be set in 1905, but there are parts of it that feel startlingly modern, and elements that are achingly reminiscent of current events. Jordan Fein's much-lauded production, first seen in Regent’s Park Open Air Theatre in summer 2024 and then at the Barbican this summer, strikes the right balance between tradition and innovation, giving rousing renditions of Jerry Bock and Sheldon Harnick’s classic songs like ‘If I Were A Rich Man’, alongside modern interpretations of the characters, complete with regional accents that make the story feel universal.
Gone are the open spaces of Regent’s Park, replaced by designer Tom Scutt’s genius set piece: a huge cornfield platform that rises above the stage, forming a place for the eponymous fiddler to play his haunting tune from, and a roof to the small Jewish stetl of Anatevka, part of Tsarist Russia (now Ukraine). Lit from below, the low ceiling gives us the sense of a tight-knit community but also feels oppressive and potentially crushing, symbolic of the gathering threat of antisemitic pogroms and expulsions which are spreading through the nation.
Anatevka is home to our main character Tevye, a hardworking but poor father of five based on Sholem Aleichem's short stories from the turn of the century. Tevye’s allegiance to Jewish customs is challenged by his three eldest daughters, who reject the tradition of arranged marriages decided by the village matchmaker and wish to marry for love.
Matthew Woodyatt's Tevye is immediately likable, breaking the fourth wall to elicit the audience's sympathy for his lame horse and lack of wealth. This is a less angry, more affable Tevye than some interpretations, and his love for his daughters is palpable, but he still has a breaking point. He's well matched by Jodie Jacobs’ warm, practical Golde, and their duet of ‘Do You Love Me?’ is both funny and touching.
The three eldest daughters bring heart and passion. Natasha Jules Bernard’s Tzeitel glows with the determination of a woman in love, Hannah Bristow's Chava is a delight as she discovers the excitement of dancing with a boy for the first time, and Georgia Bruce portrays Hodel's rift with her father beautifully. Their performance of ‘Matchmaker, Matchmaker’ is a highlight, treading the line between comedy and serious issues with ease as the girls move from giddy excitement at the idea of a match, to the realisation that an arranged marriage to certain men may be less romantic and more terrifying. Like much of the show, its wild energy is enhanced by Julia Cheng's joyfully chaotic choreography, which really comes into its own in the ensemble numbers.
Fiddler isn't the most even show, loading its showstopping numbers into the first act and keeping much of the emotion for the shorter second act which is less memorable musically. Still, the pace rarely falters thanks to Joseph Stein’s tight book, and the threads of community, love for family and God, and resilience tie everything together. Fein's production doesn’t go out of its way to draw parallels to the present day, but it doesn't have to, and scenes like the violent ‘demonstration’ at Tzeitel's wedding and the eventual displacement order hit home.
This is a bittersweet, beautifully designed production that shows great musicals are timeless.
***** Five stars
Reviewed by: Laura Lott
Fiddler on the Roof plays at The Alexandra in Birmingham until 3 Jan, with tickets available here.