Review: Fiddler on the Roof at The Alexandra Theatre, Birmingham

★★★★★

Following a completely sold-out run at The Barbican, London, the three-time Olivier Award-winning production, Fiddler on the Roof, plays at Birmingham’s Alexandra Theatre for four weeks, direct from the West End. 2025’s ‘Best Musical Revival’, directed by Jordan Fein, is Fiddler’s first UK tour in over a decade, bringing the Regent’s Park Open Air theatre show to a Birmingham stage.

The 1964 musical, with book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick, is set in early 1900s imperial Russia; a time of pogroms and displacement of the Jewish population. The story, set in Anatevka, centres Tevye (Matthew Woodyatt), a poor milkman with five daughters who leans on his faith for much-needed guidance through strife.

Fiddler on the Roof is a story of tradition alongside progress. Exploring the comfort of faith as it battles with the desire for independence and choice in a modernising, changing world, particularly in the lives of Tevye’s daughters. Despite being set over a century ago, Fiddler is still a very relevant story with its universal themes of prejudice and persecution, and love and family. It delves into cultural and societal dynamics, with commentary on gender within religions and the refugees experience.

Featuring a highly memorable score with hits including ‘Matchmaker’ and ‘If I Were a Rich Man’, Fiddler on the Roof is an energetic production laced with humour. The wit weaves its way through the songs and the script. Matthew Woodyatt, Jodie Jacobs as his wife Golde, and Natasha Jules Benard, Hannah Bristow and Georgia Bruce as their eldest daughters, Tzeitel, Chava, and Hodel, bring a brilliantly dry delivery of humour to their roles. The fiddler too, played by Roman Lytwyniw delivers not only mesmerizingly beautifully instrumentals but brings a cheeky nature to the character. Throughout the production, the entire ensemble predominately remains on stage, lending itself perfectly to the community and collectiveness of the story.

Having been first revived in an outdoor theatre space, this production brings the rustic outdoors to the stage with fields of wheat providing the backdrop and the roof itself becoming an incredible set piece, that together present a very impactful aesthetic. The orchestra are also a central part of the staging seated behind the wheat, allowing them to fit seamlessly into the background. Omitting spoilers, the close of the first act, which bursts with conflict, is also a visually breath-taking moment that fully utilises the roof and backdrop to leave audiences in awe at the interval.

The first act of this production is significantly longer, running at roughly 90 minutes, filling it with more momentum and more of the well-known moments and songs. These moments include the iconic ‘Bottle Dance’ scene which remain forever amazing to witness, no matter how many times you’ve seen it. Julie Cheng’s choreography honours Jerome Robbins’ original in the Bottle Dance, while also bringing a fresh take to the production, drawing inspiration from the likes of martial arts and Ukrainian Folk dance in other numbers.

Unfortunately, that does mean that the second act carries a darker tone, bought forth from smoke and shadow. An atmospheric second half is fuelled by emotive ballads and familial bonds pulled to their limits. It is, however, bookended with a hopeful look to the future for the characters.

Fiddler on the Roof remains an endlessly endearing piece of theatre, with playful notes, humour that comes from a place of empathy and relatability, and a truly captivating score with a deep sense of identity. Raising the roof both figuratively and literally, this production of Fiddler on the Roof which brings the contemporary to the traditional deserves a resounding ‘mazel tov’ to everyone involved.

Fiddler on the Roof plays at The Alexandra Theatre, Birmingham until Saturday 3rd January 2026.

This review was written following a press invite to the production.

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