• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Ed Fringe

Fiddler on the Roof at the Playhouse Theatre

April 2, 2019 by Alex Wood Leave a Comment

Review of: Fiddler on the Roof at the Playhouse Theatre

Reviewed by: Alex Wood
Rating:
4
On April 2, 2019
Last modified:April 12, 2019

Summary:

More Details

Tradition!

The word is bellowed out like some unquestionable, incorporeal foghorn in Nunn ‘s Fiddler on the Roof, transferring to the Playhouse Theatre after opening in the much more intimate Menier Chocolate Factory at the end of last year.

It returns, again and again, throughout the show. A klaxon through the haze.

This is a story about what tradition means, what happens when it decays, when it is imposed. The traditions of Jewish communities are as long-standing as the tradition of suppressing Jewish communities.

I remember going to filmmaking class about 30 metres from the Playhouse a few years ago, where the tutor said that every story, drama, documentary etc, can always be distilled down into a single conflict between two diametrically opposed forces.

The tutor might be a wee bit wrong but it’s a fun game, trying to simplify things down into an all-encompassing two-player conflict, and it’s startling how often it works. With Fiddler, the conflict sticks out like a sore thumb: old versus new. Tradition versus modernity. Tevye giving up his daughters, seeing them fall for unfit matches, criminal revolutionaries and, worst of all, those actively oppressing.

It might be Nunn’s brilliant vision that stands out in this West End version, but it would be wrong not to highlight the brilliant work done by designer Robert Jones.

His set reaches out into the audience, envelops them, makes them voyeurs and complicit in the subjugation. It’s a brilliant reflection on how a theatre has to be delicately transformed to become a space.

The same stands for the cast.

Andy Nyman’s Tevye, his head flung back and constantly appealing to God above (a great way to bring the circle and royal circle into the action and make them feel actively addressed) to the extent that he probably has some sort of recurring neck pain, is as iconic a leading man as you could wish – his constant ticks and trembles during If I Were A Rich Man making it obvious that is a song being felt as much as it is sung. As Sarah Crompton mentioned in her review at the Menier, Nunn has a habit of staging solos like Shakespearean soliloquies.

The performances are all top-notch – special praise must go to Judy Kuhn: stone faced, stern and warm, a perfect paradox. The choreography really is edge-of-the-seat stuff, particularly during the two big high-energy scenes (the first engagement and the wedding dance), the former in particular juxtaposing the harsh hand gestures of Cossack jigs with the all-embracing, fluid gestures of Tevye and his friends.

But tradition. Anthemically belted out into the audience. It stays with you.

This is a traditional production plugged into the present day, old and new.

Alex Wood

Author: Alex Wood

Alex is the former reviews editor at Theatre Bubble, but since changing position now contributes occasionally. He has been writing reviews for a number of years, as well as seeing his own shows performed. He has produced and marketed a number of performances at venues in London, Oxford, Edinburgh, including the world premiere of Philip Pullman's The Ruby in the Smoke.

Filed Under: Review

Join the discussion Cancel reply

NEWS / Living Record Festival of digital arts announces programme

Living Record Festival is a month-long Digital Arts Festival curating and presenting over 40 original pieces from a range of [Read More]

INTERVIEW / Open Bar on A ChristMESS CAROL

Tell us about Open Bar Theatre and also how you came about and how the name came about. OBT: Open Bar [Read More]

NEWS / Ayomide Adegun awarded The Luke Westlake Scholarship 2020

22 year old South Londoner Ayomide Adegun is currently in his 2nd year of the BA Acting course at Royal [Read More]

NEWS / Late Night Staring at High Res Pixels announced

A new play repurposed for online viewing from the creative team behind Scrounger, and the first of the Finborough Theatre’s [Read More]

NEWS / Crimes Against Christmas becomes an audio advent calendar

Typically at this time of year theatre company New Old Friends would have just finished an Autumn tour and be [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Bull - Young Vic
  • My Children! My Africa! Tristan Bates Theatre
  • Yasmin Paige on Actually
  • Writing the Perfect Press Release
  • Joseph Grimaldi Clown Memorial Service
  • Katy Owen: LAMDA Audition (First Round)
  • Dara - The National Theatre
  • Is this the real location of Ambridge?
  • Alex Wood

    Alex Wood
    Contributor

  • April 2nd, 2019
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2021 · Blue Pie Media

    Share this ArticleLike this article? Email it to a friend!

    Email sent!