REVIEW: Fiddler on the Roof at Sunderland Empire

The Empire Theatre presents Fiddler on the Roof, based on the stories of Sholem Aleichem and featuring the celebrated music by Jerry Bock and renowned lyrics from Sheldon Harnick.

The play is a retelling of the story that has been seen many times, both on the silver screen and on stages across the world. It tells the tale of a milkman named Tevye (Matthew Woodyatt) who acts as the spiritual leader of a Jewish community, while struggling with his role both as a man and father.

Tevye’s world begins to shift when his daughters Tzeitel (Natasha Jules Bernard), Chava (Hannah Bristow) and Hodel (Georgia Bruce) choose to marry for love rather than follow arranged matches, forcing him to confront the tension between tradition and change. Set in 1905 in the Russian Empire, the story unfolds against antisemitism and political unrest, which gradually threatens the safety and stability of Tevye’s village.

Both the singing and acting is fantastic across the board and additional supporting characters such as the Matchmaker (Beverley Klein) and the Rabbi (Mark Faith) add texture to the world and makes the village feel lived in.

The reimagining has received praise during its time at the West End, and won Best Musical Revival at the Olivier Awards earlier this year, and rightfully so. It poignantly explores themes such as fatherhood, religious traditions and the loyalty people can hold to their faith. While comedy is woven throughout, the story remains fundamentally melancholic, with humour sprinkled in to demonstrate how characters cope with the hardships of life and shows how comedy can blossom from oppression.

Fiddler on the Roof is a politically dense story, but it can take some knowledge about Russian history to follow along. The villagers live under the threat of surging antisemitism, and their existence becomes increasingly insecure. While these aspects add stakes to the play, it would have behoved the story to provide more historical framing, so the audience fully understands the adversities the characters undergo and why.

The musical lineup includes several well-known numbers such as Sunrise, Sunset, To Life, Far From the Home I Love and the most recognisable being the classic If I Were a Rich Man. Laura Braid’s choreography offers some unconventional performances, and the cast’s recreation of the famous bottle dance midway through the show is particularly compelling.

The production was awarded Best Set Design at the Olivier Awards earlier this year, and it is no surprise why. The Fiddler appears on a platform above the stage that rises and descends throughout the performance, serving as a silent narrator with his face cloaked in darkness. Beyond this, the set remains relatively understated and changes very little as the story unfolds.

Aideen Malone and Catja Hamilton’s lighting design is a standout in this production. Their use of light, shadow, and silhouettes creates an atmosphere that is quietly unsettling at times. Complementing this work are striking lightning, thunder, and fire effects that elevate the visual impact of the story.

The classic play took to the stage on 25 November and will stay at the Sunderland Empire Theatre until this Sunday 29 November.