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★★★★
One musical revival that dominated the 2024/2025 awards season was the Regent’s Park Open Air Theatre production of ‘Fiddler on the Roof’. It received thirteen Olivier Award nominations and won three, bringing the 1964 musical based on Sholem Aleichem’s stories about Tevye and his daughters back to London once again. This production received such universal acclaim that it returned to the Barbican this Summer, before heading out on a UK and Ireland tour. This week it is at the Marlowe Theatre in Canterbury, and I had the opportunity to watch this renowned musical locally on opening night. Whilst I struggled with the complexity of the book and subject matter as a relative newcomer to the musical (I watched the film once as a child), I can absolutely see why this specific production has been such a universal success.
Background
For those unfamiliar, ‘Fiddler on the Roof’ follows central character and milkman Tevye (Matthew Woodyatt) in early 1900s Russia, as he and his family navigate political change in their village of Anatevka. With five daughters and three of marrying age, he is desperate to secure favourable marriages for his children, but also ensure their happiness. Tevye is Jewish and you frequently see him battle with the dilemma of sticking to longstanding tradition (cue the electric song of the same name) and embracing new customs. It is a powerful story of community and connection, against the unsettling backdrop of the rise of pogroms in Eastern Europe. With a Jewish Culture, Religion and History Consultant as part of the creative team, this production has clearly taken the time to approach the portrayal of traditional Jewish customs with sensitivity and care, which is echoed throughout the performance.
A strong revival, but does it appeal to everyone?
It goes without saying that this is a spectacular production of ‘Fiddler on the Roof’, from the exquisite orchestrations to Julia Cheng’s lively choreography. There is also something so brilliant about the rawness of Tom Scutt’s set design and community-focused staging, with various members of the company seated around the edge of the stage, engaging in the action. Additionally, Matthew Woodyatt and Jodie Jacobs are a brilliant partnership as Tevye and Golde, and they are supported by such a talented company. When all of their voices come together, the ripple of sound throughout the auditorium is highly impactful.
That being said, regardless of the strength of the production, it is a musical of its time and I do question how easy it is for younger audiences to follow, who haven’t grown up with the material. It is worlds away from newer musicals thematically and structurely, and the complexity of the narrative could potentially make this a difficult musical to connect with initially. It is also nearly three hours in length, which for some will fly by and for others, will be too long. This led me to the conclusion that this is a brilliant revival, just perhaps tailored towards longtime fans and not first time or sporadic watchers like myself.
Athletic choreography
There is an unrivalled athleticism to the choreography which sees the principle cast and ensemble take part in traditional Jewish dance sequences. The company is practically leaping across the stage in places and I couldn’t take my eyes off the cast. The Bottle Dance is also an absolute highlight; showcasing the precision and skill of the performers. How they retain the required level of focus to balance the bottles is beyond me!
A traditional musical done brilliantly
Even though the musical itself isn’t my cup of tea, I do firmly believe it is a really important time to bring this musical back. There’s something to be said about watching a musical in 2025 that focuses on community and heritage, against a changing political landscape. It is also spectacularly done, hitting all of the right notes emotionally. If you are looking to see a dynamic and chilling production of ‘Fiddler on the Roof’, definitely catch this show whilst it is in Kent. The production is at the Marlowe Theatre until Saturday 15th November, with last minute tickets available via the theatre’s website.
* My ticket for ‘Fiddler on the Roof’ was gifted in exchange for an unbiased review.
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