Playhouse Theatre, London
*****
Book by Joseph Stein
Lyrics by Sheldon Harnick
Music by Jerry Bock
Directed by Trevor Nunn
*****
Book by Joseph Stein
Lyrics by Sheldon Harnick
Music by Jerry Bock
Directed by Trevor Nunn
Maria Friedman and Andy Nyman |
With its first major cast change since opening - as well as
a shift across the Thames - Trevor Nunn’s Fiddler On The Roof remains one of
London’s musical theatre jewels. The intimacy of the Menier Chocolate Factory's original treatment is not quite replicated in the Playhouse’s transformation, that sees "shtetl-lite" timber cladding dotted around the auditorium, but with a winding pathway built through
the stalls there's enough enhancement to draw the audience into Russia's Pale of Settlement and away from the show's traditional West End proscenium treatment.
Some six months into the role sees Andy Nyman sit ever more
comfortably as Tevye. There is a wise youthfulness to both Nyman’s timbre and gait and even though the show is set at the turn of the last century, Nyman
brings a perceptible modernity to his performance. His Tevye is a man witnessing the
very tenets of his faith being tested as his three grown up daughters each explore their different paths
towards emancipation and he remains convincing throughout. It helps that Nyman's voice is glorious too – resonant and thrilling in If I Were A Rich Man, yet
deeply tender in Do You Love Me.
In a canny casting move by the producers, Maria Friedman and Anita Dobson
make the move from Albert Square to Anatevka. Friedman’s Golde defines the
Jewish matriarch, loving and compassionate, yet with a resoluteness that
permeates her delivery. Friedman has long been recognised as a gifted musical theatre leading lady and it is only a shame that the show does not allow Golde more centre
stage moments. Some in the audience may recall Friedman’s turn at the
National Theatre some thirty years ago in Joshua Sobol’s Ghetto, a role that is today only enhanced as she displays a strength and resilience in portraying the timeless
persecution of the Jews. At all times though Friedman acts with an artistic beauty that shuns
mawkish schmaltz.
Dobson steps up to the role of the ageing, widowed Yente the
village matchmaker. There is an unquestionable sparkle to Dobson’s work – in a
role that Sheldon Harnick imbued with more than its fair share of the show’s
witticisms – but currently she is more battleaxe than busybody and misses a hint of Yente's nuance. The criticism here slight but subtle. Yiddishkeit is not easy to master, but given time
and an exposure to Friedman and Nyman’s onstage chemistry, Dobson can only grow
into the role.
Most of Nunn’s staging has transferred well – the wedding
scene in particular – though amidst the lofty heights of a full London stage,
Tevye’s Dream loses a little of the wit that worked so wonderfully within the Chocolate
Factory’s intimacy.
Excellence continues to abound throughout the show – with
Nunn eliciting every moment of Harnick’s wry, self-deprecating pathos. The show's song
and dance is wonderful - sadly the message of Fiddler On The Roof and the agelessness of antisemitism remains as depressing as ever.
Booking until 2nd November
Photo credit: Johan Persson