Review of ‘Fiddler On The Roof’: “Hitting the right chord”

The American classic returns to the London stage in a new, special production taking place at the Open Air Theatre. Guillermo Nazara shares his views on the show, to let us know if this musical revival manages to bring out any resonance.

“Matchmaker, matchmaker, bring me a catch.” I mean – I’m not asking much: just for him to be handsome, tall, gentle, and mature – so I can have full access to his bank account sooner. What? You can’t say I’m incapable of loving – at least, something… In all fairness, that’s just how our beloved hero, Tevye, feels when arranging the marriage of his twenty-year-old daughter with a man three times her senior. It’s all about her welfare, not her feelings. It may sound shallow (even cruel, to some extent), but when you’ve experienced life in its crudest form, the concept of kindness is understood through very different eyes.

Fiddler On The Roof introduces us to a rich palette of themes, ranging from its raw depiction of full-glory antisemitism (a vogue that sadly never ceases to return) to more introspective, philosophical aspects like the clash of good-old values with more contemporary ideas (the opening song doesn’t leave any room for doubt). Written in the same era as the all-time classic and indisputable masterpiece, Cabaret, the parallels between the two are striking: both deal with the dehumanising effect of political fanatism, both had the same Broadway legend holding its reins either as a director or producer.

Yet, the differences are shockingly high for what, in the end, feels as two sides of the same coin as for their storyline – and not necessarily in mutual benefit. While both are considered unprecedented icons, it’s difficult not to realize which one pushed the boundaries of musical theatre in a much more valiant and, ultimately, effective way – relegating its partner in crime (they both dip in the darkest tones of reality) to a still laudable effort which has survived the passing of time through its poetic beauty, but lacks the stage of development and, to some point, insightfulness that modern musicals are expected to have.

Fiddler On The Roof paints a captivating picture of the Jewish community and their traditions, while also depicting the harrowing ordeals their people have been subject to from, basically, the dawn of time. Still, the anticipation it keeps creating never gets to be fulfilled, setting up the grounds for some major conflicts that could have led to strong, transformative character arcs, but which instead are either solved no later than 5 minutes after being presented (he may be an orthodox father, but he just needs to reflect on his previous line to change his mind) or somehow overlooked.

Though featuring the most exceptional score by Jerry Block (evenly blending scoops of the Hebrew flavour with the bombastic mid-century Broadway sound) as well as a captivating libretto through Sheldon Harnick’s carefully honed lyrics and Joseph Stein’s extraordinarily well-paced and witty book, one can’t help but sensing that there’s a key component still missing – and that could stem from the fact that, eventually, the vibe we get when leaving the theatre is of being enticed by ongoing exposition, but not actually touched due to the absence of proper evolution.

However, there are manners and manners of approaching a work which, in spite of its unmovable position as an audience fave, seems to ever be able to climb up to my top list. After years of frustrated attempts, Regent’s Park’s Open Air Theatre’s may have been the one who’s finally done the trick. Directed by Jordan Fein, the montage may be, in all honesty, one of the closest examples to utmost flawlesness any production has proven in the last months. An exceptional cast, delightful orchestra (and arrangements) and extraordinary staging, all of the reasons that may deter you from watching the show will probably be crushed by the exquisite values of this production.

Displaying impressive designs by Tom Scutt, the grandeur of its set, conceived as two-storey structure with wheat harvest lands hovering over the family’s house, the versatility of the space, achieved through its rather smaet use of props (combined with Aideen Malone’s suggestive and detailed lighting), is genuinely outstanding – regaling us with several moments of arresting inventiveness, and concocting a steadily weaved and purely theatrical jaunt. In addition, Julia Cheng’s sumptuous choreography, executed with compelling precision by the show’s admittedly first-rate ensemble, only reinforces this already robust accomplishment, for which, ultimately, there’s only words of praise.

As for the cast, the whole troupe boast exquisite rapport in their portrayals – all of them exuding a great sense of unity and receptiveness. Among them, Liv Andrusier makes one of the most memorable appearances through her remarkable vocals and energetic showmanship as Tzeitel, while Greg Bernstein stands out in the role of Mendel through his highly charismatic, likable interpretation. At the same time. Adam Dannheisser excels as the piece’s protagonist, oozing magnificent flair and magnetism through his reserved but anyhow inviting and stage-confident rendition. Nonetheless, the greatest mention goes, in this case, to Raphael Papo as the live violinist, playing with all-out artistry and effortless passion, deriving in a truly astounding performance that’s as ravishing as it is moving.

A title among titles, Fiddler On The Roof may not appeal to every musical theatre fan when it comes to its writing, but its latest resurgence in the London scene may trigger that lost sparkle previous montages may have not been able to find. Though its script still struggles to pull from the heart’s strings (no pun intended), the production values make up, in a great deal, for the shortages that some (including me) may spot in the fundaments of its material. It’s a clear example of an imperfect gem that manages to shine beyond its brilliance, thanks to the splendour irradiated by those that tamper with it. If you like the original, you’ll love the new. If you didn’t care, it will matter for the first time.

All pictures credit to Marc Brenner.

Fiddler on the Roof plays at London’s Regent’s Park’s Open Air Theatre until 21 September. Tickets are available on the following link.

By Guillermo Nazara