In this visually impressive production, the setting of Regent's Park becomes a key feature as an agrarian community in 1905 - the fictitious town of Anatevka - is vividly brought to life.
Director Jordan Fein’s portrayal of this Ukrainian shtetl honours what’s so beloved in Joseph Stein and Sheldon Harnick’s book and lyrics with music by Jerry Bock.
But fresh symbolism and neat pacing adds emotional heft to a production that is joyous and moving in equal measure.
Tom Scutt's set is ingenious: a brutalist shaped wave of metal rises above the village with wheat sheafs growing from its base. The band - dressed in costumes mirroring the villagers - are seated underneath.
Rough-edged tables and village hall chairs are key props. Adam Dannheisser as Tevye is proud, posturing but a deeply loving family man, his knowing chastisements to God or the ‘Good Book’ never overplayed.
He celebrates the ‘Tradition’ of his village life in the opening number with an earthy panache that re-energises the themes. The village papas, mamas, busy-body match-maker, pontificating Rabbi all step into the frame and choreography by Julia Cheng is bracingly defiant.
Homage is paid to original choreographer Jerome Robbins in the wedding Bottle Dance scene, following Tevye’s ‘nightmare’ description of Grandma Tzeitel’s visitation and the warning that his eldest daughter should not marry wealthy, old butcher Lazar Wolf but her penniless sweetheart Taylor Motl.
As the ripple effects of greater female emancipation in Moscow are felt, Tevye struggles to hold onto his second-in-line Hodel, then beloved Chava. The focus is on the power-hold of community etched into his soul and the excellent ensemble is nearly always present on stage.
In an inspired move, Hannah Bristow as Chava further voices her heartbreak at leaving home for her Russian soldier love by playing the clarinet - and the duet between her and the languishing Fiddler [Raphael Papo - brilliant] is a highpoint.
The painful shift into the darker second act is felt all the more keenly precisely because Fein eschews sentimentality. Survival and resignation are the key endnotes before ghostly lighting picks out the villagers’ upturned faces as they march towards their uncertain futures.
Fiddler on the Roof runs at Regent's Park Open Air Theatre until September 21.
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