Direct from the West End, the first thing to catch your eye in Jordan Fein’s revival of 1960s classic “Fiddler on the Roof” is the bold set design, courtesy of Tom Scutt, which sees the stage mostly bare yet surrounded by long, dry grass and contained underneath a large, thatch roof which serves to make everything slightly claustrophobic. The story, unlike the set, is small in scale, mostly character-focused, as milkman Tevye (Matthew Woodyatt) tries to find suitable husbands for his daughters (of which he has five, although only three of them are really given any agency within the plot). Set in the fictional shtetl of Anatevka at the turn of the 20th Century, the plot strays into more dangerous territory as the Jewish community find themselves attacked by Russians during a terrifying pogrom.
Woodyatt’s Tevye is by far the highlight of this musical, often delivering lines directly to the audience as he ponders his options and asks God for advice. It is during one of these more contemplative moments that we are treated to the number “If I Were a Rich Man”, as Tevye is joined by the infamous fiddler (Raphael Popo), who appears as a foreboding vision throughout. Popo’s musical talents are second to none, as Tevye reminds us that, for the poor families in Anatevka, their lives are as precarious as a fiddler perched on a roof. The fiddler appears on the roof during several scenes, although if you are seated in the stalls, you may struggle to glimpse him.
Tevye plans to marry his eldest daughter Tzeitel (Natasha Jules Bernard) to butcher Lazar Wolf (Michael S. Siegel), and a very funny scene sees the two men get their wires crossed as Tevye mistakenly assumed Lazar wants to buy his cow rather than marry his daughter. Tzeitel has alternative plans however – she wishes to instead marry Motel (Dan Wolff). Wolff is particularly likeable as the meek, awkward tailor’s son, and his relationship with Tzeitel is sweet and easy to root for. However, it is Tevye and his wife Golde (Jodie Jacobs) who share the best chemistry on stage, and their renditions of “Sunrise, Sunset” and “Do you love me?” are excellent, adding superb depths to the complicated nature of their relationship, which began as an arranged marriage.
Tevye also has problems with his other daughters. Hodel (Georgia Bruce) begins to fall for radical Perchik (Greg Bernstein), which culminates in some excellent dance sequences, all superbly choreographed by Julia Cheng, whilst Chava (Hannah Bristow) has her head turned by Russian boy Fyedka (Gregor Milne), which causes Tevye to put his foot down and forbid his daughter from marrying outside of their faith. It is Chava’s relationship that forms the backbone of the second act, and yet we never really see enough of her relationship with Fyedka to properly form an attachment to them – Fyedka is only briefly glimpsed during the first half. Most of the runtime seems dedicated to Tzeitel and Motel, so it is odd that they fade into the background in later scenes to make way for other characters. At times, the story can feel disjointed and sporadic – perhaps due to the nature of being based on a series of short stories by Sholem (Rabinovitz) Aleichem.
The songs throughout help to add a little more backstory for certain characters, but the melodies are fairly innocuous and forgettable, with the exception of the more well-known “Matchmaker, Matchmaker” and “If I Were a Rich Man”, which both appear in the first 30 minutes. The vocal talents on display are excellent, although none of the songs truly lend themselves to providing a stand-out moment – the closest we get is Bruce’s Far From the Home I Love in act two. The first act is a little too long, at over 90 minutes (counter-acted with an incredibly pacey second act, at just 45 minutes), and there are several moments where the story seemingly stalls as Tevye launches into another of his monologues. Thankfully, the characters are well-realised and interesting to watch, and there are fascinating insights into the culture of 1900s Russia. It is easy (and fairly depressing) to draw comparisons between the persecution seen here, and similar events still happening across the world today.
The main cast are supported by a fabulous ensemble, which includes Beverly Klein who delivers superb one-liners as local gossip Yente, and Karl Wilson as the local constable, who is clearly torn between his duties as a Russian policeman and his love for the Jewish residents. The production is incredibly stylistic throughout – for the first few scenes, the chorus sit and observe the comings and goings of Tevye and his family, although this convention is dropped later on, most notably when the action moves to the local inn and all of the female cast members are banished from the stage. A dream sequence may not be to everyone’s taste, and features a little too much haze that fills the stage and blocks sightlines, but on the whole Aideen Malone’s lighting design creates some excellent atmosphere, none more so than in the song Sunrise, Sunset, which sees the stage reduced to candlelight as the family prepares for a wedding.
This is an incredibly polished, well-designed production that is certainly a visual spectacle. The plot meanders and drags in places, but there is no denying the care and attention to detail that has gone into creating this show. The characters draw you in and make you care about them, and will leave you wanting more. It is a delight to see this classic reimagined and retold to new generations. An important piece of theatre that has never felt more timely.
Tom Morley, August 2025
Review Round-up:
Elemental Theatre Company: Fiddler on the Roof – ETC give the show 4 stars, calling it “a deeply faithful, beautifully designed, and musically robust production”
Beyond the Curtain: Fiddler on the Roof – 5 stars from BtC, who say “this moving, touching exploration of love, family, belief against a changing backdrop of the world is […] a beautiful celebration of life”
Spy in the Stalls: FIDDLER ON THE ROOF – Written earlier in the tour, this 5 star review from Spy in the Stalls discusses the symbolism of the fiddler: “On top of that precarious canopy […] the fiddler makes clear that everything is poised on the brink of a mighty disaster“
Broken Legs Blog 