Jerrome Robbins and Jerry Bock’s Fiddler on the Roof remains as relevant today as it was when it first appeared on the New York stage in 1964. This tour of the multi award-winning Regent’s Park Open Air Theatre production breathes new life into the show; the story remains the same, but our perspectives and its current relevance change our views and understanding.
The cast of Fiddler on the Roof. Image: Marc Brenner
Set in the little Ukrainian village of Anatevka, we are introduced to Tevye, a Jewish milkman who struggles to cope with his five daughters as they fight against the tradition of arranged marriages to find their own husbands. In the background is the growing threat of Russia, and at the marriage of Tevye’s eldest daughter Tzeitel, to the village tailor Motel, a group of Russians wreck the party.
When other daughters, Hodel and Chava, leave Tevye and the village to marry their loves (Hodel to a political idealist who has been exiled to Siberia, Chava to a Russian) it seems there is little else that life can throw at Tevye, when the Russian authorities make an edict that all Jews must leave Anatevka. The villagers make ready to leave for their various destinations, Poland, America, Jerusalem, leaving behind their village to be taken over by the Russians.
Matthew Woodyatt in the lead role of Tevye, made famous by Topol, is wonderfully cast as he struggles with his faith, constantly maintaining a conversation with his God, and trying to keep the peace with Golde (Jodie Jacobs) his wife, whilst on his shoulder is The Fiddler (Raphael Papo) who accompanies Tevye as an ever-present inner monologue.
Jordan Fein’s direction allows the actors to fully explore their relationships with each other and bringing a lump to the throat as Tevye fights to maintain his faith and love of his God with his love and devotion for his daughters. Julia Cheng’s choreography is vibrant and exciting mixing Jewish and Russian dance styles perfectly. The set, designed by Tom Scutt, is simple but effective, aided by Aideen Malone’s lighting design it moves from the quiet village to the burning fields as the Russians move in finally becoming crushingly oppressive as the villagers are forced to leave behind their old lives in Anatevka for their various destinations.
I wondered, as I entered the theatre, how many of the audience had performed an amateur production of the show in the last 50 years and whether we were going to have any audience participation.
I am pleased to say there was no joining in with the singing but an almost reverential silence, were the audience like me considering the modern-day parallels, not only in Ukraine but in other parts of the world where ethnic cleansing is taking place. Yes, theatre is about entertainment, but the best theatre also makes us question ourselves, the world we live in and how we view it, and this does it in spades.
A production not to be missed.
* Fiddler On The Roof is at Leeds Grand Theatre until Saturday, August 2.