Fiddler on the Roof Shines at the Barbican with Heart, Humour and History

Fiddler on the Roof | Barbican Theatre until the 13th July

It might seem surprising that Fiddler on the Roof, a musical now in its seventh decade, still feels fresh and alive. However, the Barbican production, a transfer of last summer’s hit Regent’s Park staging, proves just that. I’ve seen this show many times over the years, including that open-air version, and this one is right up there with the best of them. It’s joyous, moving, and very funny. And crucially, it knows how to balance honouring the original with speaking clearly to today’s audiences.

The show opened on Broadway in 1964 and was an unexpected hit with it being a very different style from contemporary shows. The initial production was led by the larger-than-life Zero Mostel, who rapidly became bored and ad-libbed, much to the dismay of the writers and other cast members. Topol only became associated with Tevye after the London production a few years later, when he was then cast in the film version.

It is based on the short stories of Sholem Aleichem. It follows Tevye the milkman and his attempts to maintain Jewish traditions whilst the world around him begins to change, not least the marriage plans of his three eldest daughters. He has to balance his beliefs, tradition, and the love for his daughters, whilst at the same time his community is under threat.

There have been many revivals over the years, but this production finds something both old and new in the material. It keeps the core, that lovely mix of humour, heart, and history, and adds a subtle, stylish touch.

I was curious to see how the show would move indoors after the success it had in Regent’s Park. It works beautifully. Full disclosure – as you know, I hate open-air theatre as much as I hate jukebox musicals! Of course, you lose the magic of seeing sunrise and sunset just as the sun dips behind the trees, but what you gain is a much more comfortable seat and some absolutely stunning lighting, courtesy of Aideen Malone.

The set has been cleverly reimagined from Regent’s Park: there’s still the giant cornfield suspended above the stage, but it now rises and falls, and there are fields of wheat on either side. No traditional sets as might be expected, the cast sit around on metal-framed chairs that surround the playing area. It’s stylised, stylish, and atmospheric. There are subtle contemporary touches too, a modern handbag, a contemporary hairstyle there, which gently remind us that these themes are timeless and prevent the show from becoming a museum piece.

Adam Dannheisser makes an excellent Tevye, grounded, funny, and believable. No big theatrical flourishes, just a man doing his best to understand a world that’s shifting under his feet. His Golde, played by Lara Pulver, is wonderfully sharp and dry, with a strong sense of love buried under all the eye-rolling. Their duet Do You Love Me? is properly tender and very funny. I also have to mention Beverley Klein as Yente the matchmaker, who delivers every line like it’s a perfectly wrapped sweet. The younger cast are full of life, and there’s a real warmth in the way the family scenes play out. You get the sense of a household where everything’s worn but loved – a bit like the show itself, really.

Special mention must also be given to Raphael Papo as the eponymous Fiddler, normally seen at the start and end of the show, here integrated into the show. He follows Tevye as his echo or conscience, a little like the Fool in Lear. Not only is his musicianship stunning, he also has to play while moving, sitting down, and lying down!

The dancing is a joy. The famous bottle dance is properly thrilling, how they keep those bottles balanced I’ll never know, and the bigger ensemble numbers have a great sense of energy without feeling overdone. There’s a confidence to the staging that never tips into showing off. The music is played live and sounds gorgeous – full of fiddles, clarinets, and heart. Every familiar song is treated with respect, and they still land with impact. If I Were a Rich Man gets the laughs. Sunrise, Sunset gets the lump in the throat. It’s all there.

Director Jordan Fein worked in the recent revival of Oklahoma!, which was set in a community centre, and Curly shot Judd in cold blood – he has clearly taken the lessons from this but has applied them with restraint and skill that does not distort the themes of the show. This augurs well for his production of Into the Woods at the Bridge later this year.

What really struck me was how current it all feels. A community forced from its home, people clinging to faith and family as the ground shifts and sadly, none of that feels dated. But this production never hammers you over the head with it. It just tells the story clearly and honestly and lets the rest speak for itself. It’s also very funny. Proper, character-led humour that comes from the script, not added in for cheap laughs.

I thought I might be a little tired of Fiddler by now. I’m not. This is the best version I’ve seen. If you’ve never seen it, go. If you’ve seen it before, go again – it’s that good.

For more London theatre insights, reviews, and intelligent takes on the capital’s cultural scene, visit EyeOnLondon. We’d love to hear your thoughts in the comments – especially if you’ve seen this production or plan to.

[Image Credits | Marc Brenner]

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