In a compelling new revival, Regent’s Park Open Air Theatre infuses familiar classic Fiddler on the Roof with an abundance of fresh life.
First a word about the space itself. Set aside any images of a simple grassy slope for picnicking theatregoers; Regent’s Park Open Air Theatre is a handsome, purpose-built theatrical haven set amidst lushly verdant walls of trees. Arrive early for a fresh pizza dinner, to be enjoyed in any of the multiple spaces created for pre-theatre drinks and dining. The 1028-seat amphitheatre auditorium surely does not have a single seat with a bad sightline. Attending a show here is an experience in its own right and is highly recommended for summer visitors to London.
Given the regular appearance of Fiddler on the Roof on the world stage, it is hard to imagine that there are any fresh aspects to present. Wonder of wonders – director Jordan Fein and team have refreshed the well known musical, in particular, replacing the often solemn, reverent approach to Joseph Stein’s book and Jerry Bock and Sheldon Harnick’s score with hearty vigour and gusto.
This approach begins with Adam Dannheisser as a virile, commanding Tevye, his verve and energy flowing out through the full company. Dannheisser keeps a twinkle in the eye of Tevye that keeps the character and during most of his trials. In his fury at Chava’s betrayal, Tevye upends the milk cart he has been painstakingly pulling about the stage, milk cans toppling and milk spilling out across the stage.
Julia Cheng’s choreography sees numbers like “To Life” and the wedding dances erupt with passion and energy. There is a strong core of male dancers, with Daniel Krikler as Perchik an absolute standout.
Designed with deceptive simplicity by Tom Scutt, the action unfolds on an orthogonal wooden floor with thatched overhead roof curved upwards. Giving a gently improvised feel, all scenes are created from some chairs and trestle tables. With no actual backdrops to change, scenes have room to breathe. The cast remaining on stage for much of the performance facilitates a ready flow and supports the improvised feel of a troupe of players working as one.
Fein has the actors speak with their own accents, avoiding any issue of imitation or stereotype. Loose and casual, Scutt’s characterful costumes have a highly natural feel and every cast member is seen as an individual character in their own right. Vanity is set aside, with little or no make up worn, no wigs, and a brilliant set of beards grown by the full male cast.
Such is the sense of realism and community that the violence of the pogrom is very upsetting. Being outdoors, the intruders at the wedding carry live flaming torches, ready to set houses and fields alight. On a prettier note, cast members carry live candles for “Sunrise, Sunset” for a beautiful stage picture.
In Fein and Cheng’s most original sequence, Tevye gathers the company on stage to help him with “Tevye’s Dream.” In on the game, the actress playing Tzeitel (Liv Andrusier) plays both Grandmother Tzeitel and Fruma-Sarah, the company manipulating white bedclothes to create Fruma-Sarah’s ghostly long arms as part of a fabulously original sequence.
“The Bottle Dance” plays out quite traditionally before all genders dance together after the wedding toasts. In act two, rather than a ballet during “Chavaleh (Little Bird),” Hannah Bristow as Chava joins the Fiddler (Raphael Papo), playing her clarinet in a soulful musical interlude. Chava and her clarinet are also a key part of the final stage picture as the broken townsfolk depart Anatevka.
Musical director Dan Turk leads an orchestra of 11 musicians in a lively performance, with energy to match the on stage action. Musical supervisor Mark Aspinall provides additional orchestrations, with Bock’s music given a distinctly klezmer sound.
Lara Pulver gives Golde a firm backbone, and sings the role with a lovely darkly honeyed mezzo soprano. Pulver and Dannheisser enjoy palpable chemistry, their rendition of ‘Do You Love Me?” so personal and intimate that it almost feels like we are intruding by watching.
With the prospect of attending Regent’s Park Open Air Theatre already so appealing, the thrilling quality of this current production of Fiddler on the Roof makes it likely to be a sold out season.
Fiddler on the Roof plays at Regent’s Park Open Air Theatre, London until 21 September 2024. For tickets, click here.