The staging, dancing and choreography are next level, as Troy Sussman makes Tevye his own in a virtuoso display in this triumphant revival of Fiddler on the Roof. The emotionally fraught journey resonates big time in a critically acclaimed production direct from the West End.
“Fiddler” is set in 1905 in the tiny village of Anatevka in Imperial Russia, based on stories Sholem Aleichem wrote in Yiddish between 1894 and 1914 about Jewish life. They are drawn from his own upbringing near Kyiv.
With book by Joseph Stein, music by Jerry Bock and lyrics by Sheldon Harnick, the focus is on Tevye and his family. That includes his wife of 25 years – Golde (Alexis Fishman) – and the three eldest of his five daughters. Anatevka is a “shtetl”, in which villagers live their lives based on tradition, but a new age is upon them and with it new practices and imminent danger. The force of disquiet is the tsar (who we never see).
In the meantime, Tevye – a poor milkman – has to make peace with the strong-willed decisions of his children. This is a time when the only path to marriage is matchmaking and Yente (Sigrid Thornton) takes to that job enthusiastically. For Tevye and Golde’s eldest, Tzeitel (Freya Boltman), Yente favours widowed, significantly older, wealthy butcher Lazar Wolf (John Waters). But Tzeitel pushes back, with her heart set of childhood friend Motel (Felix Star), a hardworking tailor with very little.
Into the village and into the lives of Tevye’s family walks Perchik (Maxwell Simon), a student from the university in Kyiv, who challenges old world thinking. Tevye invites the penniless Perchik home and offers him food and board in exchange for tutoring his two youngest children. Perchik strikes a chord with Tevye’s second daughter, Hodel (Ellen Ebbs). That happens after Perchik drops a radical interpretation of a bible story and defies a prohibition on opposite sexes dancing together.
Tevye coming to terms with his daughters’ choices takes an even more dramatic turn when his third daughter, avid reader Chava’s (Caity Plummer) head is turned. The person in question is well meaning gentile Fyedka (Jacob Steen), who Tevye can’t countenance because he isn’t Jewish. As all this is going down, the tide of change is upon Anatevka, with the local Russian constable (Nick Brown) warning Tevye of unrest heading his way. But when the violent uprising does come, it is still shocking. Worse is to follow.
Much of the heavy lifting is left to Troy Sussman, who commands the stage with a surety and purpose. Employing humour and heart, while displaying strong vocalisation, this is the role of his career. He delights and excels in a bravura showing. Sigrid Thornton displays her acting chops, making her presence felt as the busybody Yente, who revels in the role of matchmaker. Alexis Fishman brings Golde’s no nonsense persona to bear, never afraid to give Tevye a tongue lashing.
John Waters puffs out his chest and generates entitlement as Lazar Wolf. Felix Star lives up to his surname with a comic display as the fearful Motel, who finds his voice. Another to turn heads (and how!) is Maxwell Simon as the driven and headstrong Perchick. Respect is the cornerstone of Jacob Steen’s realisation of Fyedka.
Individually and collectively, Freya Boltman, Ellen Ebbs and Caity Plummer have strength and conviction playing daughters Tzeitel, Hodel and Chava. Plummer also has an impressive turn on the clarinet during Act II. Speaking of instruments, I am in awe of the performance of Ben Adler as the frequently present Fiddler. His love of, and prowess and dexterity on, the violin is infectious. Among the many high points of his turn is playing “faux drunk” while lying on his back on a table. Oh my! Words are inadequate. Like Troy Sussman, you just HAVE to see him in action. In fact, all cast members must be applauded for the energy and vitality they generate.
I could never tire of Fiddler’s classic score with songs that are so familiar and tuneful, reaching the soul. Think Tradition, Matchmaker, Matchmaker, If I Were a Rich Man, To Life and Sunrise, Sunset for starters. Musical director Dominic Woodhead and the accomplished band have done them proud.
The production values in this show are mighty special, and they are on display from the moment the curtain rises. Fields of wheat create a strong first impression, both on three sides of the stage and hovering above it. Tom Scutt’s design is highly evocative. Props are simple, but most effective, none more so than the milkman’s cart. Costuming, wigs, hair and make-up are very much about keeping in the period.
Choreographer Julia Cheng and resident choreographer Christopher Tendai are to be heartily congratulated for the seamless movements evident throughout. The vibrant dancing, including joyous Jews balancing bottles on their “hatted” heads while celebrating and getting down low, is a sight for sore eyes. Aideen Malone’s lighting design and Nick Lidster’s sound design are breathtaking – none better than the distressing fire scene that ends Act I.
Director Jordan Fein and resident director Gary Abrahams orchestrate a magnificent, exultant, deeply affecting revitalisation of Fiddler on the Roof. This brilliant offering, which has a running time of two hours 40 minutes, including interval, is on at Her Majesty’s Theatre until 27th December, 2026.
Alex First
Other reviews you might enjoy:
- Waitress, at Her Majesty’s Theatre – musical theatre review
- Frozen The Musical – Her Majesty’s Theatre
- MJ: The Musical (Her Majesty’s Theatre) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
