Review: Fiddler On The Roof (Barbican Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

The annual big summer musical has become somewhat of a tradition at the Barbican Theatre in recent years, with Anything Goes and Kiss Me, Kate among the shows that have blown audiences away over their limited but highly memorable runs. It feels fitting that this year’s offering is a show that has tradition at its heart, even opening with the word as the acclaimed Regent’s Park Open Air Theatre production of Fiddler On The Roof moves to a new home indoors. Having wowed audiences and critics alike with its run last summer, could this return be the start of a new tradition in itself?

Premiering on Broadway in 1964 and crossing the pond for its first West End run in 1967, this latest production of Fiddler On The Roof debuted in London last year where it became Open Air Theatre’s most successful production, selling out its limited run. It now returns for another limited London road before embarking on a major UK tour. The show focuses on Jewish milkman Tevye as he attempts to maintain the traditions of his culture and his own beliefs as he attempts to find a balance in an ever-changing word that continually tests him.

The miracle of miracles in Fiddler On The Roof is how it stands the test of time. Written more than 60 years ao and set 120 years ago, there is a timelessness to the story and its very themes that holds up as much in 2025 as I can only imagine it did in 1964. It may speak as much for the state of the world as it does for the writing itself, but the story of maintaining tradition and balance amongst a shifting dynamic is one that can be transferred to many a situation while, of course, the persecution of the residents of Anatevka also has real-world comparisons.

Joseph Stein’s book is simply glorious in its portrayal of a family man with no shortage of humour to be found throughout. What truly makes Fiddler On The Roof a King among its colleagues is in the sheer amount of heart it has. Though the laugh-out-loud moments aren’t in short supply, they are always underpinned with the real sentiment of the story with many a moving moment to be found. There is a poignancy to the story, particularly towards the climax of Act One and the show itself that effortlessly penetrates your heart. It chokes me up every time I see a production of Fiddler but perhaps more than before on this visit.

I wondered how last year’s Regent’s Park run could be topped, as that theatre offers a beautiful aesthetic through its outdoor setting, heightened in this particular production with a set that effortlessly blended into the actual park. Rather surprisingly, I concluded I preferred it this time around, with its new indoor setting allowing the production to add elements it couldn’t do last year. The result is a less static set with effects that increase the impact of certain moments and a higher emphasis on lighting. At Open Air Theatre, it is only the second Act that allows the magic of the lighting to work its wonders - of course, that is not an issue here with the lighting representing the end of Act One used to a more dramatic effect than last year. Another great touch is making use of the beautiful setting of the Barbican Theatre, playing it to its maximum strengths, especially with the opening reveal of the stage.

Jordan Fein’s direction has brought something new and urgent to the story, while never compromising the very essence of the show and the story it is telling. Maintaining the tradition of the show while not being afraid to change with the world and offer a new 21st-century approach to Fiddler is a very obvious comparison to the theme at the heart of the story and Tevye’s own battle. Fein has made some inspired choices in this production - many of which I’d argue come across stronger this year than they did last year - whether that is the change in setting or more time with this production allowing it to feel more refined.

The production elements all match Fein’s vision and execution of the story, with Tom Scutt’s beautiful set design providing the perfect backdrop for the story, never distracting but always complementing. Julia Cheng’s choreography is a wonderful thing to behold, coming alive in the bigger ensemble numbers most notably the absolute perfection that is the ‘To Life’ sequence. Of course, Jerome Robbins' original choreography for the now iconic bottle dance remains in tact, again representing the use of balance across the old and the new. A beautiful use of lighting from Aidden Malone results in a beautiful aesthetic, while Nick Lidster’s crystal clear sound design means not a single thing is ever in danger of being missed.

Fiddler On The Roof boasts no shortage of classic musical numbers, with Jerry Bock’s music and Sheldon Harnick’s lyrics potentially never sounding better than they do in this latest offering. Kicking off the show with three of its best-known numbers in ‘Tradition’, ‘Matchmaker’, and ‘If I Were A Rich Man’, these classics are elevated in their original setting and never run the risk of feeling like imitations due to how well-known they are. Elsewhere, the beautiful ‘Sunrise, Sunset’, addictive ‘To Life’ and sweet ‘Do You Love Me?’ ensure a certain impeccable standard is maintained throughout in a show that doesn’t boast a single dud number.

The quality of the cast of Fiddler On The Roof can be attested with the fact several received Olivier Award nominations for their performances in the show last year. Though if this cast were good last year, they are absolutely exceptional this year. Once again leading the cast is Adam Dannheisser as Tevye in an astonishing performance that dominates throughout and dares not let anyone come close to stealing a scene from him. Through acting, vocals, comedy and charm, Dannheisser delights with a nuanced and, dare I say, balanced portrayal of the character that sees no limits when it comes to exploring the conflicts Tevye feels. Every subtle smile he does to the audience is matched with anguish in other moments in a performance rife with emotion and realism. Dannheisser’s Tevye ends the show a different man than how he began a couple of hours earlier, and the journey in getting there is incredible to witness.

Lara Pulver also returns as Tevye’s wife, Golde, once more delivering a similarly incredible performance. Though her place in the story is as the wife, she more than holds her own as she too finds the balance in accepting Tevye’s wishes while perhaps being a bit more open to changes. It is her performance in ‘Do You Love Me?’ where she is at her best, navigating her husband’s question through storytelling and song in a real highlight of the show. Though comparatively underused, Beverley Klein’s larger-than-life presence as Yente means she is rarely out of mind with some hilarious moments, expertly delivered by her.

As Tevye’s daughters, Natasha Jules Bernard, Hannah Bristow and Georgia Bruce all thrill as Tzeitel, Chava and Hodel respectively, each forming their own distinct personality that pushes their father to his limits, and each delighting in how they do this.Daniel Krikler is another standout in the cast as Perchik with his exuberance in the role leading to a charismatic performance that always lit up the stage. The choice to have the Fiddler as a character in this production is an inspired one, and the result is a performance from Raphael Papo that always wows.

While I loved Fiddler On The Roof at Regent’s Park Open Air Theatre last year, I was one of the only reviewers who awarded it four stars as opposed to five. My reasoning was the production didn’t quite connect with me emotionally - that is the difference between a four and a five for me personally. Needless to say, that wasn’t an issue this year. For one reason or another, be it the setting, staging or my own circumstance, I connected to it on a whole other level this year and the result is a production I couldn’t fault. I would argue that the production has been elevated this year and though there are elements that are notably different from its time in Regent’s Park (for obvious reasons), rather than anything being missed, it has only added to the effect. An incredible take on a classic, it is clear to see why this show has been loved by multiple generation, with this miraculous production becoming a new tradition in itself - may we continue to see it for many years to come.

Fiddler On The Roof plays at Barbican Theatre until 19th July. Tickets from https://allthatdazzles.londontheatredirect.com/musical/fiddler-on-the-roof-tickets

Photos by Marc Brenner