(seen at the afternoon performance on 31st May 2025)
The monkey just wanted to update quickly on its opinion (below) of the 2024 production.
Simply, this works even better on the Barbican's wider stage.
Adam Dannheisser has "found" his character, making Tevye a true "everyman" - a simple man scratching out a tune without breaking his neck.
The monkey was stunned to realise that the "Fiddler" (Raphael Papo) is Tevye's soul, embedded in his community.
With the orchestra at the back of the stage and the overhanging field mostly out of the way (burnt weeds poking through in the second act are worrying), there is more space for the cast, and they use it. The only loss is the magnificent slope at the back for the end climb. On the other hand, the queue they form is arguably even more chilling.
Close enough to see the pain, love and delight in the daughters' eyes, the intimacy from the front row moved the monkey close to tears several times. It is that kind of show. Emotionally direct, and performed with sincerity.
The returning cast need no further praise, the joiners are smoothly integrated, and this is simply an unmissable, magnificent revival.
Oh, and one last thing... "Fiddler" is of course the great-grandfather of "Hamilton." It just is. Think about it.
Another 5 star, standing ovation given.
Photo credit: Marc Brenner.
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(seen at the first preview performance on 27th July 2024)
Literally peeling back the fertile plains of Ukraine, Tom Scutt’s two-tier set is a masterpiece. “Anatevka” spelled out above, earth version growing below.
Through the long yellow grasses, a fiddler on the roof gazes down on Tevye, the indomitable optimist with an answer from the good book for everything. As the opening notes fade, this stunning revival weaves magic in a rare theatrical setting where “Sunrise / Sunset” really happens before the interval.
Director Jordan Fein must have seen many himself, sifting to find the very essence of faith and community stamped - literally - into the stage. Several show-stopping sequences, the impossible “The Dream” among them, contain Regent’s Park coup-de-theatre that we love.
The Wedding is perfection, a few moments later as their world burns, our shock increases as we not only see but scent it – terrifying.
Julia Cheng blends Jerome Robbins choreography with Jewish and Russian tradition (tradition) to infuse bittersweet moment “To Life” with menace, and avoids cliché in “The Bottle Dance,” a dance notably more Moscow than New York.
As Tevye, Adam Dannheisser is a family man, clowning to entertain his young daughters, fiercely protective of them as well as his faith. His early scenes will ripen through the run, his later ones are already psychologically perfected.
Struggles with events testing everything he holds dear are conveyed with stillness, yet even the back rows understand what is going on behind those patriarchal eyes. Later, “Chavalah” rips the soul from us as well as him, in marked contrast to the exuberant classics “If I Were A Rich Man” and “Tradition.”
When confronted by the Constable (Jonathan Dryden Taylor – excellent as a good man, caught as much as Tevye in wider madness) and representing his neighbours, Tevya bends but cannot be broken, such is his belief in his Lord. A relationship which may not have left him material wealth, but spiritually a richer man than many.
Huge performances from daughters Tzeitel (Liv Andrusier), Hodel (Georgia Bruce) and Chava (Hannah Bristow) enliven proceedings. Modern teenage stroppiness mixed with realisations “a girl could get burned” by bad decisions, these are close sisters.
From Andrusier’s self-preserving rebellion and lovely table moments via Bruce’s fierce independence to Bristow’s gut-wrenching, show-stealing plot triggers and final moments, strong women to celebrate.
A smaller role, but vital, Lara Pulver’s Golda shares a tender “Do You Love Me” with her husband, reflective moments at their eldest’s wedding, and a determination to leave no pans behind.
Supporting roles match the central cast. Michael S. Siegel as unsuitable suitor Lazer Wolf gives a particularly confident opening performance. Dan Wolff’s Motel is literally far less stable (almost entering into the Ian McKellen book of fame at one point), yet the right choice for Tzeitel.
Beverley Klein simply relishes Yente, a matchmaker Dolly Levi would spend hours with if they met. Do we love her? Right. Of course, right, we do.
Equally loved Daniel Krikler’s idealist Perchik is another match for Tevye’s brightest offspring. Gregor Milne is a suitable Fyedka, a touch of travelling philosopher, relished by Chava.
The tiny details - David Freedman as The Rabbi, Greg Bernstein as son Mendel - are a double-act to contend with. Thomas Lee-Kidd as Sasha adds to the atmosphere, and of course Raphael Papo as the Fiddler haunts all, benefitting from an inspired modification to the usual characterisation and direction.
If Aideen Malone’s lighting requires adjustment to avoid dazzling physically the front rows, nothing on stage will fail to dazzle our spirits. The final heart-breaking image holds terrible significance for those who appreciate the hint, unforgettable.
In these troubled times, lessons from history are before us, and if willing to learn from them, just maybe we will avoid mistakes by accepting all humanity shares a common desire to live together in peace.
As incoming artistic director Drew McOnie warned our first preview crowd, “anything could happen.” Magic does. See this.
Standing ovation given.