Fiddler on the Roof
Menier Chocolate Factory
Reviewed – 6th December 2018
β β β β β
“warm and intimate, yet vast and epic at the same time”
βFiddler on the Roofβ is based on the stories of one of the most famous and beloved of all Jewish writers; Sholem Aleichem, who came to be known as the βfolk singerβ of the Russian shtetl. Written between 1894 and 1914 the stories were a series of stand-alone monologues told by the character of Tevye to the reader. Aleichem had started to amalgamate these into a dramatic adaptation but died before he could finish it, but what he had already managed to do in his tales was to capture the hunger and the passion of his people trying to survive under desperate circumstances, but also the humour and the irony.
The often-staged musical has reflected this with varying degrees of success, but it is safe to say that Trevor Nunnβs revival hits the notes perfectly with a truly magical mix of mockery and menace. The story centres on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon his familyβs lives, not least of which is the edict of the Tsar that evicts Jews from Russia. At the same time, he is coping with the strong-willed actions of his three eldest daughters who wish to marry for love and whose choice of husband moves further away from the customs of the faith and heritage that he is, sometimes reluctantly, clinging onto. This production brings to the fore the deeply rich humour of Joseph Steinβs book. But we are never quite allowed to escape the shadow of the impending threat of exile.
Andy Nyman makes this show his own with his portrayal of the patriarch ruled by his wife, Golde (a perfectly pitched performance from Judy Kuhn). Nymanβs effortless stage presence sculpts a wholly heartfelt and honest portrayal of his character, veering between tradition and compassion, and bending his beliefs, where necessary, for love. He knows exactly when to switch on and off the comedy, a skill matched by the entire ensemble. The same sensitivity is applied to Sheldon Harnickβs lyrics. Often unfairly branded as kitsch, the poignancy and the irony are accentuated by the fine performances. And combined with Jerry Bockβs sumptuous score, orchestrated for an eight-piece band, it is an exceptionally moving piece of musical theatre.
Choreographer Matt Cole remains faithful to Jerome Robbinsβ original which is a feast for the eye. In fact, all our senses are treated to this outstanding rendition. Full of belly laughs it is a cry from the heart. The gorgeous strains of βSunrise, Sunsetβ segue into a euphoric wedding dance which, in turn, is broken by the arrival of a vicious tsarist pogrom.
It is warm and intimate, yet vast and epic at the same time. It speaks softly to each of us yet its message shouts out to all of us. The source material is over a century old, but it is still sadly topical and the final scene where the villages flee their homeland is breathtakingly stirring. The musical ends not with a bang but a whisper. Not with a chorus line but a band of silent souls heading towards an uncertain future. The lone fiddler is beckoned, and he steps down from the roof to follow them.
All that can follow this is the standing ovation this production deserves. A production that is heading towards a far from uncertain future.
Reviewed by Jonathan Evans
Photography by Johan Persson
Fiddler on the Roof
Menier Chocolate Factory until 9th March
Previously reviewed at this venue:
The Gronholm Method | β β β β | May 2018
