Fiddler On The Roof

The Olivier award winning revival of the Jerome Robbins Classic ‘Fiddler on the roof’ returns to London theatre and has sustained its success.

From Regents Park Open-Air Theatre to the Barbican, Fiddler on The Roof has returned to a London stage. The darkness of the Barbican Theatre truly emphasises the depth of the piece and moving it from an open air theatre to an enclosed theatre highlights the harrowing topics that the musical touches on. This production is 3x Olivier award winning for good reason.

Fiddler on The Roof, if you aren't in the know, is a musical written by Joseph Stein, with music by Jerry Bock and lyrics by Sheldon Harnick. It was originally directed and choreographed by Jerome Robbins for Broadway. It's such a legendary piece of musical theatre, because it shows the need for change and how tradition should not be so strict. Whilst also showing a glimpse of the prejudice the Jewish religion has received over centuries; it shows the divide between a rural village between the Jewish villagers and Russians. The name comes from the idea of the Fiddler balancing on a roof and is a metaphor for how one tiny thing can cause such a huge downfall. This production, directed by Jordan Fein puts an abundance of emphasis on the Fiddler's character, he plays a huge role in mirroring the main character Tevye's feelings, creating the atmosphere/tone of scenes and heightening the tension.

I have had the great pleasure of seeing the Regent's Park Open Air Theatre and now the Barbican production. There will be areas of the review where we will discuss the development and comparing areas of the previous production.

'We've kept our balance for many years', words spoken by Tevye in the opening number 'Tradition'. Tevye is played by Adam Dannheisser and he perfectly displays the character's devotion to religion and importantly tradition. His character arc is extremely complicated and intricate. Whilst he shows how is forced to be open to change for the sake of his family's future, stability and happiness, he also shows how deviation to what he has always known has torn him apart. The relationship between Tevye and the Fiddler (played by Raphael Papo) is the most interesting, as they have playful moments, narrative, and moments that they are separate, but the Fiddler is mirroring Tevye's thought process. This is so unique as whilst Tevye is a narrator, the Fiddler musically narrate the piece, which is so intriguing. 'Without tradition our lives would be as shakey as a fiddler on the roof' this is a line in the opening number that foreshadows the plot of the piece. It seems more emphasis has been put on to developing the relationship between the pair of narrators and there are new and old moments in this production that give this piece it's stamp of authenticity.

The main three sisters Tzeitel played by Natasha Jules Bernard, Chava played by Hannah Bristow and Hodel played by Georgia Bruce have developed into a new area of the plot which is moving. They clearly show the daughter's entrapment in the shackles of the dated traditions and how they fear their futures with their fathers choosing their husbands. Whilst also showing how they fall naturally for men who their parents would not have considered or even in some cases allow. The iconic song between the three 'Matchmaker' has a new tone, it emphasises their fear, happiness and excitement turns to anxiety and fear. It's truly beautiful. Tevye's relationship with each daughter changes throughout the piece and without ruining the plot there are some moments with his daughters that will move you to tears and make you feel a range of emotions. The acting is truly stunning and you could write a book unpacking the range of characters, their significance and relationships, but for the sake of the review let's just say the acting was genuinely amazing, you'll need a moment at the end of each act to take in what you have just seen.

Julia Cheng deserves a lot more appreciation for her work on the choreography in this revival of 'Fiddler on The Roof'. She has tipped her hat in respect to the original choreography by Robbins by sticking to his original choreography in the 'Bottle Dance' in Act One. Also, using element's of his style and developing it into her own signature style. Notably, the choreography in 'To Life' is electrifying, the performances of Gregor Milne, Jack Osmond and Alex Pinder as the Russian trio in this number is exhilarating, they bring such energy/stamina, talent and understanding of the Russian Chekov dancing style. The contrast between the Jewish character and the Russians presents the shakey balance, the wall between them and how they are unsure of each other. Cheng successfully creates a painting of the layered relationship, levels of status, starts to introduce the audience to the tragic part of the story to come and foreshadow. Her choreography is characterised, detailed and intricate. She is a rising star and this piece of work she has done will put her name among the best. Let's just remember she was in the Olivier nominations for best choreography with Matthew Bourne.

Previously, it seemed unclear as to why costume designer Lucy Martin chose to integrate modern clothing amongst the old style, rural worker style clothing. The development of the production and the deeper understanding of each cast member and creative has opened a new perspective of the costume choices. The modern styles referred to are how there are skinny jeans, zips on some boots and whilst it would make sense for the revolutionary Perchik to wear a more modern style, the choice for the items to be integrated into the costume, shows how the characters use whatever is available to them, they utilise what they can and also foreshadows the slow integration of change to tradition. It's extremely clever and creative.

There's enough to unpack to create a series of books, but this is a review not Volume One of the Fein production of 'Fiddler on The Roof'. This production has preserved it's five- star rating by developing what they had and giving the message a deeper meaning, that can be translated into so many different relatable elements. It explores the need for change, acceptance and the importance of community. What makes a five-star show is attention to detail, universal relatability and the ability to make the audience feel emotions, whether that be joy or woe. This production engages the audience, makes time stand still and unpacks each and every character, whether small or big. A revival is difficult to give authenticity and maintain its power, because most of the audience are there knowing what to expect from the story. Whilst this revival stays true to the original, it also brings new ideas, makes it relatable, opens new perspectives and creatively wow's the audience. It is unique, magical and beautiful. It is a theatrical masterpiece.

On a more personal note. Fiddler has a very special part of my journey in theatre; it sparked my love for musical theatre choreography and analysing choreography. Whilst my reviews don't necessarily dive into the details of choreography, it is such an important element of theatre for me, it is an element that I appreciate the most. This production has made me admire the musical more, because before watching this I would watch the film, but only watch the first act, as I didn't enjoy the second. I have now found a love for act two, because of this revival and this shows how the new adaptation is so successful, because it has deepened an audience members love for a classic, giving something new. So, if you're wondering why it can stay at 5 stars, I think that is very good reason.