Who would have thought the repression, harassment, eviction and exile of impoverished Jews in Tsarist Russia in 1905 could be turned into a successful Broadway musical?
Yet Fiddler on the Roof, based on the short story of Tevye and His Daughters by Sholem Aleichem, is one of the most frequently played musicals in the world. The book is by Joseph Stein. The music is by Jerry Bock. The lyrics are by Sheldon Harnick.
The 1964 Broadway premiere, directed and choreographed by Jerome Robbins, starred Zero Mostel. It won 9 awards and went on to become the longest running production in Broadway history with 3,234 performances. The 1971 film with Topol was also extremely popular and won an Oscar.
The story is set in a Jewish village in Ukraine at a time of a breakdown of Jewish observance, tradition and customs. Tevye’s five daughters want the freedom to choose their own husbands. But “Without our traditions,” says Tevye, “our life would be as shaky as a fiddler on the roof. How can I deny everything I believe in? How can I turn my back on my faith?”
Jordan Fein’s revival, designed by Tom Scutt and choreographed by Julia Cheng, opened at the Open Air Theatre in Regent’s Park last year and was hugely popular with critics and public alike. It is now touring the UK and not to be missed. The cast is headed by Adam Dannheisser as Tevye, the milkman, and gets off to great start with two great songs: “Tradition” and “If I Were A Rich Man.”
Jerry Bock’s score mixes traditional Jewish harmonies with the musical idiom of Broadway. The appeal of the show has always been its Jewishness: the cosy sentiment, the whimsical humour, the ironic asides, the homespun philosophy and Tevye’s one-to-one chats with God.
Folk dancing plays a key role. Hasidic Jews believe that communion with God can be achieved through music and dance. A fiddler is always present at religious ceremonies. Raphael Papo, who plays the Fiddler, figures prominently throughout the production. Papo’s performance, musically and physically, is one of the major reasons for the show’s success.
There are other high spots. The first is a surreal nightmarish wedding reception, excellently staged. The second has five Jewish males, linked together, moving with slow, precise movement, whilst balancing wine bottles on their heads. The dance symbolises tradition, balance and resilience. Choreographed by Jerome Robbins, it is a showstopper. The men’s balance is amazing when they lower themselves, one knee bent and the other leg stretched sideways, and march forward in unison.
Following its London run, which ends on 19th July, Fiddler on the Roof will tour, visiting 19 venues in the UK. You can check the dates now by following this link.
To learn more about Robert Tanitch and his reviews, click here to go to his website. 
