Review: Fiddler on the Roof; UK Tour, at the Palace Theatre, Manchester

The biggest winner at this year's Oliviers happened to be a revival I'm not sure how many of us were expecting to pick up loads of nods. Well, I'm sure that the lucky people who did manage to get a ticket during its sold out run at Regent's Park would say they were expecting it. This may be now considered a Tradition-al show, but this new production was a triumph for both audiences and critics - that is the Regents Park production of Fiddler on the Roof. 

And it is currently, after playing the Barbican, touring the UK

While I had seen the West End production a few years ago, featuring Andy Nyman (Wicked) and Pocahontas herself Judy Kuhn, this production was vastly different. Playing to packed outdoor seats every night, this produciton played at Regents Park Open Air Theatre, closing last year's season, starring Lara Pulver (Gypsy) as Golde, and Adam Dannheisser (who was in the original cast of Beetlejuice) as Tevye. It was nominated for 13 Oliviers (!), winning 3 for Tom Scutt's set design (he also won for Cabaret at the Kit Kat Club a few years ago), as well as for Nick Lidster's sound design, and one of the biggies, Best Musical Revival. 

For those of you who have never heard or seen Fiddler on the Roof before, the piece takes us to the Ukraine, to a village called Anatevka, around the turn of the 20th century. It is a peaceful village steeped in tradition. And in said town, we find a poor milkman, Tevye, just trying to live day to day, and hope that his 5 daughters are provided for. But Tevye is about to be shaken, as not only are his daughters are one by one determined to forge their own path, but outside forces are about to shake up the entire village. 

This is one of those stories which in equal measure, when done right, invites you to join in the joy, and then can break you

It also seems more timely than ever, because it proves as we know, attacks on the Jewish community are sadly nothing new, with the ongoing war in Ukraine, and a synagogue being attacked in Heaton Park just a few weeks ago - only a few miles from the Palace Theatre in Manchester, where Fiddler was playing last week. 

It was also cathartic to me to watch the show with my parents, when so much of the play explores relationships between parents and their children, about community, and how traditions clash with perhaps more "modern" ideas. 

From the moment the safety curtain goes up, you are sucked into this community

The first sight you see of this set is a raised platform, covered in a grass type material, with the Fiddler on top, playing those iconic notes. As he plays, the platform rises, to resemble a thatched roof, or the cover of a storybook. And the village sit around the side of the stage, having the whole village watch every scene and interaction. The Palace Theatre may be a big stage, but it feels strangely intimate in this setting. 

The next thing that stands out to you is Julia Cheng's choreography. It feels exciting and free, while also paying tribute to Jerome Robbins' brilliant original, particularly The Bottle Dance during the wedding scene. I still do not understand how you are meant to keep your balance. 

Then you get to know this community and you grow to love them

Matthew Woodyatt leads this touring company as Tevye, one of the the leading male-identifying roles in musical theatre, played with pain and sensitivity. As his wife Golde was Jodie Jacobs, a lady I had wanted to see on stage for some time now, and she did not disappoint as a no-nonsense mother just wanting her daughters to have a more comfortable life than she has. 

Reprising their Olivier nominated performances from Regents Park are Beverley Klein and Raphael Popo. Klien's Yente was the closest to a comic relief character the show gets, being the nosy matchmaker, making some rather sassy comments along the way. 

Popo's performance is interesting because he didn't play a speaking/singing role at all, but the Fiddler himself. I'm not sure the Fiddler has ever been given awards recognition. But the way they work the Fiddler in this production is unlike any you've seen before. He almost acts as Tevye's shadow or conscious, the theme of the village's tradition. While I think about the role of music, as well as the fiddle, listen out for the clarinet in the score, especially in the 2nd half. 

However, the standout performances for me are the three daughters

Natasha Jules Bernard as Tzeitel, Georgia Bruce as Hodel, and Hannah Birstow as Chava are feisty, strong and heartfelt. With Tevye, they are the heart and soul of the show, as each one decides their own destiny in their own way, with Matchmaker being a highlight, the catalyst that sets their minds. Bernard also doubles up as Fruma Sarah for the nightmare scene, in an inspired choice, which feeds into the idea of her and Tevye together coming up with this plan to convince Golde of her marrying the man she loves instead of that who her parents promised. 

While the Manchester run has ended, this sublime production of Fiddler on the Roof is continuing its tour across the UK, ending its run for a Christmas season in Birmingham. I highly recommend giving this version a chance, whether you are brand new with Fiddler, or whether you have seen it lots of times. 

I felt moved and invigorated after seeing this production. It reminds me why Fiddler is one of the most beloved musicals of all time - because it feels timeless, for both good and unfortunate reasons. When done right, it hits like a train. And this one felt like a speeding one.