Press Invite. Tickets gifted in return for an honest review.
Fiddler on the Roof is one of the first shows I can ever remember seeing, so I was really excited to see it announced as this year’s Summer production at Regent’s Park. This seminal Jewish tale has a long history of productions in the West End, on Broadway and beyond, most recently seeing a London revival in 2019 at the Menier Chocolate Factory. With so much having happened in the world at large since then, it is perhaps no surprise that now is the time chosen to return Joseph Stein’s 1964 musical to the stage… ironically, one without a roof.
The show takes place around 1905 in the Pale Settlement of Imperial Russia, following a small Jewish community in the town of Anatevka. Patriarch and traditionalist Tevye, a milkman, welcomes us into his world as outside pressures challenge his, and his family’s, way of living. Director Jordan Fein leans into the comedic elements with this staging, deliberately avoiding perhaps the more predictable political commentaries given world events but nonetheless still retaining a narrative that can only be considered as challenging and thought-provoking on multiple levels. That said, additional security and other preventative measures have still been provided in light of the ongoing atrocities in Gaza, and it is hard to separate the narrative from reality.
One of the most incredible things about the Open Air Theatre is that every production transforms the space differently: from the basic, scaffolded Jesus Christ Superstar, through the glitzy, bright pink Legally Blonde to the more traditional La Cage we’ve seen it all, yet none has seemed as stripped back or intrinsically blended into the park surroundings as that of Fiddler. Almost book like, two layers of the stage peel apart to create a central performance area as well as the eponymous roof. A slope to the rear of the stage as well as the roof itself are covered in wheatsheaves, giving the illusion of a quiet, rural town – the name of which is mirrored on the floor and ceiling. Coupled with the usual impeccable, clever lighting design – plus a cunning 7.45pm curtain – the production uses the natural space to excellent effect, with the set blending into its surrounds assisted by the natural sounds of rustling leaves and crying birds.
Thematically, the show primarily focuses on morality: the questioning of traditional views versus modernity. Tevye (played by Adam Dannheisser) constantly weighs “on the one hand” versus “on the other” as events outside his control challenge him and his family. Dannheisser beautifully finds the balance between caring for and wanting the best for his wife and children – forgoing traditionalist values such as arranged marriages – whilst protecting his own fundamental principles – of faith, of work – all balanced against his standing in society and within his community, as well as his Jewish faith.
Much of what is to pass is foreshadowed in the first act, whilst the constant presence of the eponymous Fiddler, be it lurking in the background or taking centre stage playing the notes – provides a reminder that events are perhaps controlled by a higher power, and despite our influence we may well be powerless to stop them from happening. This rings true in the relationship between the Russian Constable (Jonathan Dryden Taylor) and Tevye; at first the Constable appears to be looking out for his friend in light of wider societal happenings when warning of a ‘pogrom’ (a violent riot intended to intimidate or massacre Jewish people) but later is completely powerless to stop their dispersal. This felt particularly relevant given the recent Far Right demonstrations across the UK and serves as a stark reminder that such entrenched attitudes are sadly still prevalent today. Ultimately, if any political point is being made it is that we are stronger as a united, respectful community.
Mention must also be made of Tevye’s wife, Golde, portrayed by Lara Pulver. Despite the traditional, housewife role of the matriarch, Pulver’s performance still manages to take centre stage and is a perfect match against that of Dannheisser. Somehow, along with the couple’s three eldest girls Tzeitel, Hodel and Chava all reclaiming their own stories and making their own choices about who they intend to marry, this production feels distinctly feminist – a surprising but welcome take away, and further proof that even old shows can still hold huge relevance today.
One of the most poignant moments of the show came just before the interval, as the song ‘Sunrise, Sunset’ plays out just as the sun sets. It is one of many reflective moments for Tevye and the ensemble at large as they explain the cycle of life and of community, and is another of those foreboding moments of what is to come at the end of the show. It comes immediately after the wedding of Tzietel (Liv Andrusier) and Motel (Dan Wolff) and the first big ‘break of tradition’ in the show, whilst hinting at more.
Whilst I may not have any direct connection with some of the Jewish themes in the play, it is still possible to understand and appreciate the research and connections to reality that have been weaved into the production. The choreography in particular blends together modern musical theatre disciplines with traditional Jewish dances, and the wedding scene in particular felt just as joyous and chaotic as the Jewish wedding I attended many years ago myself. It was also nice to see the costuming extend to the entire orchestra, furthering the cohesive feel that we were joining in the celebrations – and sorrow – of a village.
All in all, Fiddler is a strong performance at a time when traditional theatre is going through a significant revival phase. It isn’t, for me, the strongest show of all time, but that is caveated with the knowledge that I likely missed many of the more subtle references that makes the show more relevant to the communities and identities it portrays. A strong movement and technical base creates a spectacle on the level we’ve come to expect from Regent’s Park, and the (literally) grass roots setting helps to create a unique space with which to tell this important story. On the one hand, it’s not going to make it into my all-time favourite shows, but on the other it’s still a very enjoyable evening out.
Fiddler on the Roof is playing at Regent’s Park Open Air Theatre until 21 September. Tickets are available.
