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Fiddler on the Roof (Cast Change)

Playhouse Theatre

Reviewed – 22nd June 2019

★★★★★

“Friedman’s formidable presence is the perfect complement to Tevye; one that no Matchmaker could cap.”

Almost before Trevor Nunn’s “Fiddler on the Roof” opened last December at the Menier Chocolate Factory, it had ‘West End Transfer’ stamped all over it. Three months on from its relocation to the Playhouse Theatre it is still a richly deserved hot ticket. Settling into the larger space, the show has thankfully lost none of the intimacy and passion: there is always the fear of over-projection, but the subtlety and attention to detail of this production is beautifully intact, gently immersing the audience into the small Russian village of Anatevka in 1905.

Designer Robert Jones’ set – a ramshackle Jewish shtetl – spills out into the auditorium; the smokey darkness of the crooked wooden buildings backed by a foreboding bank of bare woodland, yet overlain with folk-tale lanterns and Tim Lutkin’s time-shifting lighting that conjures both the chilly light of an uncertain dawn with heart-warming twilight. A true reflection of the town folk’s stoicism in the face of their impending resettlement. Trevor Nunn has conjured up the perfect mix of mockery and menace in this atmospheric revival.

Based on the stories of one of the most famous and beloved of all Jewish writers; Sholem Aleichem, the story centres on Tevye, a poor Jewish dairyman, forever questioning ‘Tradition’, and the mysterious ways in which God moves. A patriarchal figure, his refusal to bend to the changing times is slowly eroded by the strong-willed actions of his daughters, who rebel against the custom of arranged marriage and choose to marry for love. Although he never quite lets go, Tevye’s grip on his heritage is increasingly fragile. Andy Nyman gives a stunningly natural and captivating performance of this central role. Whilst making light of his plight with precision-timed quips and asides, we are also continuously aware of his fear of the threat of exile and, more poignantly, his love for his wife and daughters.

In its first major cast change since the transfer Maria Friedman takes over as his wife Golde. Friedman’s formidable presence is the perfect complement to Tevye; one that no Matchmaker could cap. Their onstage chemistry evokes the hard-won intimacy built from the ups and downs of a twenty-five-year marriage; culminating in the tender self-realisation of their duet “Do You Love Me?” Friedman again pours the liquid gold of her voice over the achingly angelic “Sunrise, Sunset”, one of the choral highlights. In fact, the entire company do wonderful justice to Jerry Bock’s sumptuous score, with a sensitive, but never sentimental, interpretation of Sheldon Harnick’s lyrics. Molly Osbourne and Nicola Brown as the daughters Tzeitel and Chava are joined by Ellie Mullane impressively stepping in as Hodel. The three sisters give heartfelt performances, accentuating the satire often missed in “Matchmaker, Matchmaker”. The village matchmaker is indeed central to the story, and her role is made more vital by Anita Dobson who takes on the mantle with a thrilling energy, showing us her dab hand at comic timing.

But beneath this musical portrait of family and community is the solemn undercurrent of violence, anti-Semitism and persecution; sadly still all too pertinent. Matt Cole’s choreography, paying homage to Jerome Robbins’ original, shows how rapidly high spirits can descend into oppressed chaos, particularly when a vodka-soaked wedding dance is broken by the arrival of a vicious tsarist pogrom at the close of the first act. A threat that is taken to its tragic conclusion in the final scenes.

The human touch easily sits alongside the disturbing historical commentary. Yet, despite the epic themes, the staging of this production lends real intimacy to a thousand seat venue, and by avoiding the temptation to overplay to the rafters the emotional impact touches the heart with much more force. Its message is clear; but what is equally clear is that this quite simply is still a triumph of a show. Musical theatre at its best. Matchless.

Reviewed by Jonathan Evans

Photography by Johan Persson

Fiddler on the Roof

Playhouse Theatre until 2nd November

Last ten shows covered by this reviewer:

Elegies For Angels, Punks And Raging Queens | ★★★ | Union Theatre | May 2019

Mycorrhiza | ★★★ | The Space | May 2019

The Curious Case Of Benjamin Button | ★★★★★ | Southwark Playhouse | May 2019

The Talented Mr Ripley | ★★★★ | Wilton’s Music Hall | May 2019

Vincent River | ★★★★ | Trafalgar Studios | May 2019

Pictures Of Dorian Gray (B) | ★★★ | Jermyn Street Theatre | June 2019

The Flies | ★★★ | The Bunker | June 2019

The Importance Of Being Earnest | ★★★★ | Tabard Theatre | June 2019

The Decorative Potential Of Blazing Factories (Film) | ★★★ | The Coronet Theatre | June 2019

Bitter Wheat | ★★★★ | Garrick Theatre | June 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“aesthetically seductive with some captivating acting and thought-provoking perceptions”

In an intimate and eloquent production at the Jermyn Street Theatre, an accomplished ensemble of actors and creatives join together to bring to life a long-neglected work by Edwardian playwright, Harley Granville Barker. Using one of his list of possible subtitles, ‘Agnes Colander: An Attempt at Life’, he broaches the sensitive issue of women’s lack of freedom in that era but, more delicately, examines how relationships change when they become sexual. Married at seventeen, Agnes has left an unhappy, respectable marriage to become an artist. When, three years later, her husband orders her home, she moves to France with Otto, a passionate, Danish painter, while being pursued by the smitten Alec.

These three men reflect her emotional struggle and the play follows the considerations and deliberations of a woman whose strength and conviction make her want to shape her own destiny. However, with the examples of writing by Shaw, Wilde and Ibsen freshly censored, he knew that a play which questioned the code of acceptable female behaviour in that society would never be approved by the likes of Lord Chamberlain, so it lay tucked away, unrevised and unperformed, until its recent discovery by Richard Nelson.

This early piece is entirely conversational, consisting of a series of dialogues and sometimes missing a link or background, but Trevor Nunn directs a distinguished cast, engaging our empathy with the characters on a personal level and opening our thoughts on whether it is possible to love with body and soul. Naomi Frederick’s alluring performance as Agnes draws us into her conflicting complexity of thoughts, feelings and ideals and her deeply sincere nature. The ardent Otto is played with increasing coarseness, creating a contrast to Harry Lister Smith’s nuanced, if timorous, portrayal of young and besotted, yet determined, Alec. Emmeline Marjoribanks re-establishes the norms of female conduct in an appealing interpretation by Sally Scott, not without desires but quick to cover them up.

Robert Jones’ set design is an elegant backdrop to his period costumes and detailed props which further combine with the actors’ movements and sublime tones and hues of the lighting (Paul Pyant) to conjure up a semblance of continuous oil paintings. Although this is not a perfectly constructed drama – a little stilted due to the linear form and an ending which is rather too neatly tied up – it is an enjoyable and involving portrait of Agnes. Well-suited to the small stage it is aesthetically seductive with some captivating acting and thought-provoking perceptions.

Reviewed by Joanna Hetherington

Photography by Robert Workman