Jordan Fein's open-air production of the classic Jewish musical is a dazzling feat for our time
Cometh the hour, cometh the show. This much-loved story of the milkman, Tevye, fighting to hold together his family and community against the forces of societal change and violent political upheavals felt particularly resonant following a week of far-right rampaging on British streets. As the story unfolded it was also hard not to be reminded of the recent rise in antisemitism and Putin’s invasion of Ukraine – which threatens the Jewish community in Russia with further exiles from an already dwindling community. Over the last few years, we have learnt how to spell the Ukrainian capital Kyiv, and here it was perfectly pronounced, too.
But no hook is needed to bring this inspired production to London’s bucolic park venue, in which it seems both reimagined and a perfect fit.
In the programme, director Jordan Fein describes Fiddler as “the definition of musical theatre,” adding, “it’s the first show I ever saw”. My guess is the creators Sheldon Harnick (lyrics), Jerry Bock (music) and Joseph Stein (book) would thrill to see how their 1964 musical recreation of precarious Jewish life and love in the Pale of Settlement plays in Regent’s Park.
The scene opens with the eponymous Fiddler (Raphael Papa) playing in a sloping wheat-field (ingeniously created by designer Tom Scutt), which soars above the stage so that it also serves as the cottage roof for the performers below.
Beneath the slope, Tevye, played by Adam Dannheisser as empathetic, confiding and confident, arrives dragging his cart of milk churns. The shtetl dwellers fill the stage, and despite the poverty of their worn garments, there is joie de vivre in their portrait of generations of village life as the ensemble join in a joyous rendition of ‘Tradition’.
But both love and hate are destined to interrupt the cycle.
The main story revolves around Tevye’s attempt to marry off his three eldest daughters. As tradition dictates, their grooms will be chosen by Tevye, his wife Golde (Lara Pulver) and Yente the Matchmaker (Beverley Klein) – but his daughters have other ideas. His eldest, headstrong Tzeitel (Liv Andusier) rebels against her arranged marriage to the wealthy old widower Lazar the butcher (Michael S Siegel), and ends up marrying her childhood sweetheart, the ambitious tailor Motel (Dan Wolff). Hodel (Georgia Bruce) falls for the revolutionary Perchik (Daniel Kriker), eventually following him back to Kyiv and an uncertain future, while Chava (Hannah Bristow), is disowned by her father when she decides to marry Fyedka (Gregor Milne), a Christian youth.
Set against this domestic drama is a more menacing challenge: the ever-present threat of violence by the Russian thugs, which eventually comes to a head on the night of Tzeitel’s wedding to Motel.
The exhilarating dance scenes (choreographed by Julia Cheng and set to MD Dan Turek’s brilliant 12-strong band, who also get their own dance moves) include a transfixing dream sequence, in which the white-clad cast perform a ghostly recreation of a nightmare.
Aideen Malone’s lighting works with the set, as well as nature itself, to illuminate the show’s opening in the evening sunlight; while the sunset arrived bang on time for the song ‘Sunrise, Sunset’ in the wedding scene.
As the first half came to a close, the sky darkened and the moon rose over the trees as the band played on. Sorrow, loss and exile lay ahead but the beauty continued – along with the band, gliding in the shadows.
By Judi Herman
Photos by Marc Brenner
Fiddler on the Roof runs until Saturday 28 September. 7.45pm (Mon-Sat), 2.15pm (Thurs & Sat only). From £15. Regent’s Park Open Air Theatre, London, NW1 4NU. openairtheatre.com