As the fiddler on the roof plays the overture, the roof rises above the stage, welcoming us into the village of Anatevka. Here, a small Jewish community manages to persist under a Tsarist Russia by keeping a low profile and strictly adhering to centuries-old traditions (traditions they have a charming song about, aptly named ‘Tradition’).

Our story follows poor milkman Tevye and his wife Golde, who have five daughters, three of which have now come of age, meaning a visit from the matchmaker is imminent. Tradition decrees that the papa must decide on a match for his daughters. Unbeknownst to Tevye, however, his daughters have all fallen in love with men he would find utterly unacceptable – a pauper, a “hardcore radical” and, worst of all, a non-Jew! (cue shocked gasps). This conflict between tradition and modernity is at the centre of the story.

While Fiddler on the Roof is not a particularly a grand production, it has some of the best direction and cast chemistry I have seen.

With as many as 20 cast members often on stage and the backdrop of golden wheatfields, the village truly comes to life. Aideen Malone’s lighting design has such a natural feel as it seamlessly shifts from day to night, and indoors to outdoors. This atmospheric lighting paired with Tom Scutt’s simple, but beautifully designed set fully immerses you in the show. As the daughters defy their father, the villagers stood in the background have an imposing presence, symbolising the weight of the traditions that constrain them.

Matthew Woodyatt as Tevye beautifully portrays the burly tender-hearted patriarch. He really brings the whole cast together and enables everyone to shine. Jodie Jacobs who plays Golde is also brilliant as the protective, no-nonsense mother. Natasha Jules Bernard, Hannah Bristow and Georgia Bruce are all incredibly talented in bringing the three sisters Tzeitel, Chava and Hodel to life. I loved that each had a section of the play devoted to their story, allowing all three to have their moment in the spotlight.

The dance choreography by Julia Cheng is phenomenal. It’s raw and larger than life. The famous bottle dance in ‘Wedding Dance’ is a true spectacle, and I must applaud the dancers for their commitment and skill. The musical soundtrack is of course lovely and fitting as always. ‘If I Were a Rich Man’ warrants all its popularity and I found ‘Sabbath Prayer’ and ‘Sunrise Sunset’ to be surprisingly hopeful and touching.

The play is not all drama and gloom, of course; it has plenty of humour sprinkled throughout. One of my favourite moments, which had me in stitches, was the dead-grandma-dream sequence that Tevye puts on. (I won’t elaborate, you’ll have to see it for yourself!) I was also a big fan of Tevye’s “on the other hand” musings.

As with many theatrical productions, the stellar Act I is followed by a rushed and less developed Act II. While the daughters clash with Tevye and throw his home life into chaos, larger political threats loom outside. Their small Jewish community is in danger and faces eviction under the Tsar. This plotline comes to the forefront in Act II and is never fully realised in my opinion. The ending comes across as abrupt and fails to hit the emotional notes in the way the daughters’ marriages did. This ultimately leaves the play with an unsatisfying conclusion.

A tale as old as time, the struggle between tradition and modernity is beautifully explored in Fiddle on the Roof. While Act I is nearly flawless and deserves every bit of praise, a weaker Act II pulls down the rating to a still-respectable four stars. Even though the production didn’t quite live up to my admittedly very high expectations, I would still encourage you to give it a watch, it’s beautiful!

Rating – 4/5

Fiddler on the Roof plays at the Alexandra in Birmingham till 3rd January 2026. Tickets can be bought here.

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