Fiddler on The Roof - UK Tour - Review

★★★★☆

After a critically acclaimed run at Regent’s Park, Fiddler on the Roof is now on a UK tour. This classic musical takes its name from a metaphor, where tradition (a fiddler) balances uneasily against modernity and displacement (the roof). But in 2025, as audiences gather to watch this story retold once again, a question lingers: should we continue to revive classics, or leave them in the past where they belong?

Fiddler on the Roof follows Tevye, a poor Jewish milkman in the small Russian village of Anatevka, as he struggles to balance his deep-rooted traditions with the rapidly changing world around him. With five daughters to marry off, Tevye is constantly negotiating between the old ways and his children’s growing desire for independence and love matches over arranged marriages. As each daughter pushes further against convention, from marrying for love to defying faith to crossing cultural divides, Tevye’s world is shaken, mirroring the wider social and political upheaval that threatens the survival of his community.

There’s something timeless about Fiddler on the Roof. It is one of those musicals where the power lies in the story and its sense of community, rather than in flashy numbers or star-driven performances. The current UK tour leans into this spirit, delivering a production that is visually striking, cohesive, and deeply faithful to the material. And yet, for all its craft and polish, there remains a curious sense of distance between stage and audience—an arm’s length that prevents the show from fully breaking through into something truly transcendent. Even at the most emotional beats, the show feels polished rather than raw, leaving audiences impressed rather than moved. 

Stepping inside the theatre, this production greets you with the gorgeous sight of wheat sheaves on a movable canope, simple but profound. Tom Scutt’s staging is remarkably effective: the set feels lived-in and authentic, giving a sense of place that gives the village a tangible, communal warmth. Aideen Malone’s lighting design, too, deserves high praise, moving deftly from a golden, nostalgic glow to stark lighting and unsettling shadows that underscore the looming threat of displacement. The visual world of this play is truly its strongest asset.

Musically, the production rarely falters. The orchestra delivers Jerry Bock’s iconic score with depth and vibrancy, and Julia Cheng’s choreography, especially in the ensemble-led numbers like “Tradition” and the bottle dance sequence, is full-bodied and exuberant, perfectly capturing the celebratory spirit of the piece. The fiddler, Raphael Papo, perched above and weaving in and out of the story, is outstanding: a haunting, constant reminder of fragility and hope, and one of the most memorable and impressive elements of the night.

What Fiddler on the Roof does not offer, however, is the sort of musical theatre showcase that produces jaw-dropping power ballads or stop-the-show moments. This is not a flaw of the cast, who perform with commitment and skill, but rather a limitation of the material itself. The score is rich, the harmonies layered, and every number serves the story, yet there are few opportunities for vocal fireworks that might elevate a single performer. The only songs that truly linger are the early crowd-pleasers, “If I Were a Rich Man” and “Matchmaker.” Beyond those, the music, while effective, rarely stands alone outside its dramatic purpose. As a result, no one voice or performance leaps out above the rest, leaving the evening feeling more like a tapestry than a star turn.

That said, the ensemble work is consistently strong, and most of the characters are delivered with warmth and humour. Matthew Woodyatt was both humorous and melancholic as Tevye; he shares every joke and every tear. Jodie Jacobs was captivating as Golde, Steely, grounded, and affectionate. Woodyatt and Jacobs’ duet “Do You Love Me?” is a tender and comic oasis amid the more lively numbers.

The ensemble of daughters—Tzeitel (Natasha Jules Bernard), Hodel (Georgie Bruce), Chava (Hannah Bristow), Shprintze (Ashleigh Schuman), and Bielke (Georgia Dixon)—were equally matched, vivid and emotionally grounded, bringing agency to the characters. Unfortunately, for me, the role of Motel at times felt underpowered. While it may have been a conscious choice to play the character as understated, the result came across as slightly disengaged, particularly in a show where every member of the village feels so alive and present.

Overall, this Fiddler on the Roof is a deeply faithful, beautifully designed, and musically robust production. It respects the material, honours its traditions, and offers moments of genuine poignancy. It may not break new ground, and it doesn’t quite manage to close the emotional gap between stage and audience, but it is a thoughtful, polished, and often moving retelling of a classic. Four stars, and a strong reminder of why Fiddler continues to resonate across generations.