There are few musicals that balance humour, poignancy and theatrical spectacle with the assurance of Fiddler on the Roof. More than six decades after its Broadway premiere, this enduring musical continues to find relevance in its exploration of family, faith, tradition and the uncertainties of a changing world.
With music by Jerry Bock, lyrics by Sheldon Harnick and a book by Joseph Stein, Fiddler on the Roof is based on a series of short stories by Ukrainian-born Jewish author Sholem Aleichem, centred on the character Tevye and his family.
First premiering on Broadway in 1964, Fiddler on the Roof won nine Tony Awards, including Best Musical. Its celebrated score features such memorable songs as Tradition, Matchmaker, Matchmaker, If I Were a Rich Man, Sunrise, Sunset and To Life.
In this production, the story of Tevye and his family is presented with considerable theatrical imagination and emotional depth, supported by a strong appreciation of Bock and Harnick’s celebrated score.
Directed by Jordan Fein, this production premiered at the Regent’s Park Open Air Theatre in 2024, before transferring to the Barbican Theatre and undertaking an extensive tour of the UK and Ireland. It brings a fresh perspective to a musical whose appeal lies as much in its intimate family relationships as in the broader historical circumstances that shape the lives of its characters.
At the centre of the production is Troy Sussman as Tevye, the village milkman whose attachment to tradition is increasingly challenged by the changing expectations of his daughters. Sussman carries much of the production’s dramatic weight, bringing warmth, humour and an engaging humanity to the role.
His relationship with the audience is particularly effective in the familiar asides to the Almighty, which provide both comic relief and a revealing insight into Tevye’s inner conflicts. His rendition of If I Were a Rich Man is a highlight, delivered with an infectious sense of character and theatrical flair.
As Golde, Alexis Fishman provides a strong and well-judged counterpoint to Tevye, capturing the practical resilience of a woman whose devotion to her family is rarely expressed through sentiment. Freya Boltman as Tzeitel, Ellen Ebbs as Hodel and Caity Plummer as Chava bring individuality to the three daughters, each negotiating the tension between parental expectations and their own aspirations.
Sigrid Thornton makes a welcome return to the musical stage as Yente, the village matchmaker, bringing a familiar presence and an appealing comic sensibility to the role. John Waters is suitably imposing as Lazar Wolf, the wealthy butcher, while Maxwell Simon brings conviction to the revolutionary tutor Perchik.
Felix Star is engaging as the tailor Motel, with Jacob Steen as Fyedka, whose relationship with Chava challenges the boundaries of the community’s traditions. Acclaimed violinist Ben Adler brilliantly executes The Fiddler, providing a recurring musical presence that underscores the precarious balance between tradition and change.
The ensemble is integral to the production’s success, bringing considerable energy and precision to Julia Cheng’s choreography. To Life is particularly exhilarating, its exuberant movement and infectious rhythms capturing the communal spirit of Anatevka.
The wedding celebrations provide another memorable sequence, with the retention of Jerome Robbins’ original choreography for the celebrated Bottle Dance a welcome inclusion. Executed with remarkable coordination and balance, it remains one of the musical’s most distinctive theatrical moments.
Musical Director Dominic Woodhead leads an outstanding eleven-piece band, delivering the intricacies of Bock’s score with clarity, warmth and considerable rhythmic vitality. From the playful exchanges of Matchmaker, Matchmaker to the tenderness of Sunrise, Sunset, the musical numbers are allowed to breathe, reinforcing the emotional shifts that underpin the story. The score remains one of musical theatre’s great achievements, combining memorable melodies with an enduring capacity to move between comedy and reflection.
Tom Scutt’s minimalist design establishes a striking theatrical image from the outset. As the Fiddler plays the opening strains of the score, a field of wheat slowly rises, with the Fiddler perched above it, forming an almost canopy-like structure over the stage and the village life that unfolds beneath. It is an evocative visual metaphor for the traditions that bind the community, while also establishing the production’s distinctive aesthetic.
The open stage is otherwise sparsely furnished, with tables, chairs and essential props carried on and off by cast members, who frequently occupy the perimeter as observers. Aideen Malone’s atmospheric lighting adds depth and texture to the setting, allowing the focus to remain on the villagers and their shared experiences.
Fein’s staging is a notable strength of the production, making inventive use of the open space while maintaining a strong sense of movement and continuity throughout. There is a fluidity to the action, with the ensemble shifting between individual characters, communal gatherings and the changing rhythms of village life. This is particularly evident in Tevye’s nightmare, an imaginative sequence that balances theatrical absurdity with an underlying sense of unease.
Equally assured is the transition to the pogrom, where the exuberance of the wedding celebrations gives way to the sudden disruption and destruction of village life. Fein demonstrates a keen understanding of the musical’s shifting emotional landscape, allowing humour, intimacy, spectacle and tragedy to coexist without compromising the integrity of the story.
It is this ability to move between exuberance and heartbreak that gives Fiddler on the Roof its enduring power. Beneath the humour and familiar musical numbers lies a story of people attempting to preserve their identity and sense of belonging in circumstances increasingly beyond their control.
The final scenes, as the residents of Anatevka prepare to leave their homes, carry a particular poignancy, reminding us that the loss of tradition is often accompanied by the loss of place, community and a shared history.
Fiddler on the Roof
Her Majesty’s Theatre, 219 Exhibition Street, Melbourne
Performance: Thursday 5 November 2026
Season continues to 27 December 2026
Bookings: www.ticketek.com.au
Following the Melbourne season, Fiddler on the Roof will play His Majesty’s Theatre, Perth, from 7 January 2027. For more information, visit: www.fiddlerontherooftour.com for details.
Images: Troy Sussman as Tevye and Ben Adler as The Fiddler – photo by Daniel Boud | Troy Sussman as Tevye – photo by Daniel Boud | Alexis Fishman as Golde and Troy Sussman as Tevye – photo by Daniel Boud | John Waters as Lazar Wolf and Cast of Fiddler on the Roof – photo by Daniel Boud | The Company of Fiddler on the Roof – photo by Daniel Boud | The Company of Fiddler on the Roof – photo by Daniel Boud
Review: Rohan Shearn