Fiddler on the Roof is a traditional show which opened on Broadway in 1964. It was made famous by Topol with the film in 1971 and since then many have used this as the basis for their productions.
I was curious to see what Regents Park Open air Theatre would do with their production, would it retain the roots of the production or would it have a new twist or gimmicky idea.
On entering the performance area, we were faced with a large wave of corn which rose over the stage and another field of corn behind the stage which rose up on a steady incline. This was a magnificent set offering so much scope for the performers.
Usually the Fiddler (of the title) is a small cameo role, however in this production it was an integral part, with Raphael Papo taking a far more active role and playing throughout the production, often on the roof above the stage. This was a brilliant addition and added an ethereal quality to the whole production.
Adam Danheisser, portraying Tevye, infused the role with tremendous warmth. He skillfully portrayed a wide range of emotions without ever resorting to overacting, and his interactions with Lara Pulver, who played Golde, were delightful.
Liv Andruiser portrayed Tzeitel, the eldest of their daughters, with strength, beautifully complemented by Dan Wolff's portrayal of the nervous Tailor Motel. Their relationship exuded exuberance, making it truly endearing. Georgia Bruce played Hodel, the next daughter, and I appreciated the interpretation of her character as somewhat radical, a fitting match for Daniel Krikler's portrayal of Perchik.
Chava, is the third daughter. Portrayed by Hannah Bristow, this character plays a crucial role. While I found her portrayal somewhat subtle and her desire for acceptance in Act 2 a bit lacking, I particularly appreciated the incorporation of the Clarinet. It symbolized a fusion between the Jewish community represented by the fiddler and the Russian culture embodied by the clarinet.
Beverley Klein stood out as one of the top performers in the role of Yente, complete with a pipe. Her portrayal was fantastic, showcasing many recognisable personality traits. Michael S. Siegel also delivered a standout performance as Lazar Wolf, shining particularly in the powerful number "L’chaim," one of the show's highlights.
Nevertheless, what impressed me the most was The Dream. I admired the creative approach in which Tzeitel portrayed both Grandma Tzeitel and Fruma Sarah to influence Golde's decision about the wedding arrangements, along with the ingenious use of the tablecloth. Without revealing too much, I must say that this concept was incredibly innovative and smart.
We watched this during a matinee show, so there were few lighting effects visible. However, to be frank, the production was strong enough to stand on its own without relying on atmospheric lighting. What also impressed me was the powerful vocals. Every single person delivered an outstanding performance, and the chorus work displayed remarkable timbre and depth.
I cannot emphasize enough how wonderful this interpretation of Fiddler on the Roof was. I highly recommend this show to those who are unfamiliar with it, as the storyline is compelling. It's also worth revisiting the show to see it from a fresh perspective while still enjoying all the highlights.
Comments