A Powerful Production that Proves History has Taught Us Nothing
Villager “An eye for an eye and a tooth for a tooth! ”
Tevya “Very good! That way the world will be blind and toothless.”

“Tradition!” proudly bellows Tevye (Adam Dannheisser) during the musical opening that drops us firmly into a small Jewish community on the outskirts of Kyiv that he calls home. This powerhouse of an opening number perfectly sets the scene for what will become a battle of love and will, old and new, and us and them.
Tevye is a dairy farmer who spends his days providing his village with dairy products whilst unburdening himself in private conversations to God. He has a traditional life with his wife, Golde (Lara Pulver) and his 5 daughters. He is focussed on providing for his family and finding his daughters suitable husbands. However, his challenges are about to get harder.
His daughters are building their own opinions on life and skirting with ideas that fall outside the traditional norm. Moreover their wider community is coming under a grave threat from the Russian Tsar who is systematically taking over land owned by Jewish families and pushing them out.

This Fiddler is a direct transfer of last year’s much-lauded Regent’s Park Open Air Theatre production, though not much has changed in the move. The rural set, which merged beautifully with the surrounding trees and foliage at Regent’s Park, feels somewhat hemmed in within the confines of the Barbican. Surprisingly, however, this constraint adds a deeper intensity to the oppressive undertones that permeate the story.
Dannheisser and Pulver shine in the lead roles, with Dannheisser able to create the near impossible: delivering a solid and engaging Tevye that steps out of the shadow of Topol’s character-defining performance. Natasha Jules Bernard, Georgia Bruce, and Hannah Bristow excel as Tevye’s daughters, Tzeitel, Hodel, and Chava, respectively, giving nuanced and balanced performances as each navigates the treacherous path between yielding to their own desires and meeting the expectations of their parents and community.
The rest of the cast deliver what needs to be done, though some of the minor performances feel a touch laboured. Under Jordan Fein’s direction, Dannheisser is given space to create his own take on Tevye—one torn between his love for his religion and community, and that for his family. This focus strongly anchors the story, though it creates a slightly unsatisfactory overall narrative.

The daughters’ love stories lack depth, leaving audiences to fill in the gaps about how their romances blossom. Similarly, as the political backdrop shifts, it’s dealt with only in passing scenes, rendering the play’s denouement—where they’re all forced to leave their homes—emotionally tepid..
These quibbles aside, the production is strong and deeply engaging. The story proves significantly funnier than one might expect and the exceptional score, by Sheldon Harnick and Jerry Bock, receives wonderful interpretation from musical director Dan Turek.
However, time and circumstance make this Fiddler a rather uncomfortable watch. The gender politics, viewed through today’s lens, are glaringly unfair. At Yente’s wedding, while all the men dance in celebration, the women—though happy—remain on the sidelines cheering on the menfolk. When Tevye, after watching his daughters choose love over tradition, asks his wife ‘Do you love me?’ she concludes, after listing what she’s done since marriage, “If this is love, then I suppose I do”. While comical, it highlights the life of someone who’s had little free will and made the best of a situation where she had no alternative.

As the villagers’ land becomes under increasing threat from the Russians and the community is forced to split up and move on, you cannot see anything other than what is happening in Palestine today. And as each family talks about where they’re moving to – some to America, others to Poland – it’s heartbreaking to realise that thousands of refugees today are denied the same freedom to find peace elsewhere. When the matchmaker, Yente (Beverley Kelin), gleefully declares that she will go and set up home in The Holy Land, her joy was matched by a slight disquiet rippling through the audience.
This Fiddler on the Roof is essential viewing that transforms entertainment into an urgent wake-up call about our world today.
For our review at Regent’s Park in 2024 go here.

Musical Numbers
Act One
Tradition
Matchmaker
If I Were a Rich Man
Sabbath Prayer
To Life
Tevye’s Monologue
Miracle of Miracles
The Dream
Sunrise, Sunset
The Wedding
Act Two
Now I Have Everything
Levy’s Rebuttal
Do You Love Me?
The Rumour
Far From the Home I Love
Chavaleh
Anatevka
Production Notes
Fiddler on the Roof
Book by Joseph Stein
Composer Jerry Bock
Lyricist Sheldon Harnic
Directed by Jordan Fein
Cast
Lara Pulver
Adam Dannheisser
Beverley Klein
Gareth Davies
Georgia Bruce
Hannah Bristow
Karl Wilson
Mark Faith
Matthew Woodyatt
Michael S Siegel
Simon Anthony
Sue Appleby,
Susannah van den Berg
Daniel Krikler
Carys McQueen
Dan Wolff
Gregor Milne
Ashleigh Schuman
Raphael Papo
Natasha Jules Bernard
Georgia Dixon
Toby Turpin
Ed Bruggemeyer
Jack Osmond
Alex Pinder
Creatives
Director: Jordan Fein
Designer: Tom Scutt
Choreographer: Julia Cheng
Musical Supervisor: Mark Aspinall
Lighting Designer: Toby P Darvill
Information
Running Time: Two hours 40 minutes with an interval
Extended and Booking until 14th July 2025
Then on tour to
Liverpool
Theatre:
Barbican Theatre
Barbican Centre
Silk Street
London EC2Y 8DS
Box Office:
Barbican Website: www.barbican.org.uk
Tube: Barbican or Moorgate
Reviewed by Sonny Waheed
at the Barbican Theatre on 4th June 2025
