Fresh from its critically claimed performance at Regent’s Park Open Air Theatre, Joseph Stein’s golden age musical, Fiddler on the Roof, raised the roof of Edinburgh’s Festival Theatre as part of its UK and Ireland tour. This new production, directed by Jordan Fein, keeps the charm of 1960s musical theatre while providing some more contemporary elements for modern audiences.
Based on the short stories of Sholem Aleichem, Fiddler on the Roof follows Jewish milkman, Tevye (Matthew Woodyatt), in the small village of Anatevka under the rule of the Russian Tsar. With five daughters at home, and little money coming into the family, Tevye relies on the old tradition of the ‘matchmaker’ to find rich suitors for his daughters. However, when his daughters begin to challenge these age-old beliefs, Tevye has to grapple between tradition and the wishes of his children.
As the curtain rises, Anatevka springs to life. Crops border round the stage, creating an intimate playing space for the action to take place. Tom Scutt’s design is subtle but very effective in setting the scene of the small farming village. This is greatly complimented by costumes from Lucy Martin and props from Lizzie Frankl which greatly adds to the time period of 1905. In addition, Aideen Malone’s lighting design compliments the performance without taking away from it. The way in which all technical and design elements work together should be highly complimented.
We are first introduced to Tevye, the story’s protagonist. Woodyatt easily steals the show with strong characterisation and expert comedic timing to make Tevye a loveable character with a clear moral dilemma. A fantastic addition in Fein’s retelling of this classic is the use of regional accents and Woodyatt’s natural Welsh tone is a refreshing sound within the production. Golde (Jodie Jacobs), Tevy’s wife, is a powerhouse performance. Jacob’s vocal technique is smooth and clear, bringing a fantastic balance of matriarchal power and tenderness to her performance. The concern with the role of Golde is that she could merely become ‘the wife’ or ‘the mother’ but Jacobs successfully brings so much depth to really make Golde stand out. Moreover, a mention must go to Hannah Bristow in the role of Chava, one of the 5 daughters who arguably has the most emotional development. Bristow navigates the quieter side of Chava very well in the first act but, in the second, we see an incredible emotional shift as she, like the other daughters, breaks tradition. As this unfolds, Bristow does a tremendous job at gaining the sympathy of the audience through the emotional scale of her performance.
Lastly, a real standout feature of the show is its choreography from Julia Cheng. Filled with fierce energy, it feels both authentic to Jewish culture and traditional while still finding its place in this modern adaptation. Cheng’s choreographic choices were always engaging, and the performance would feel very different without her influence
This production of Fiddler on the Roof is a must watch for fans of the original production, or perhaps the 1971 film adaptation, while also appealing to fresh audiences. Filled with political and social commentary, it feels like the right time to revive this piece of the golden age.
Fiddler on the Roof tours until January 3rd 2026 and tickets are available at https://fiddlerontheroofuk.com/tour-dates/
Reviewer: Dylan Mooney
Reviewed: 9th September 2025
North West End UK Rating: