The melancholic ending of Fiddler on the Roof, where a community faces forcible removal from its home and loved ones are separated by unimaginable distance, remains upsettingly relevant today. The production, currently at Sydney's Theatre Royal, brings into sharp focus the constant news of displacement, violence, and loss that defines our era. Its setting, Anatevka, a fictional village in tsarist Russia’s Pale of Settlement, is now part of Ukraine, a detail that underscores the enduring cycles of conflict and forced migration across Europe.
Originally created for London’s Regent’s Park Open Air Theatre, the production, directed by Jordan Fein and designed by Tom Scutt, travels from London’s Barbican to Sydney. It is based on stories by Sholem Aleichem and was written by Joseph Stein, Sheldon Harnick, and Jerry Bock. The musical, which debuted over 60 years ago, was the first to play Broadway for more than 3,000 performances.
Echoes of Forced Migration
In Anatevka, dairyman Tevye, played by Troy Sussman, lives with his wife Golde, played by Alexis Fishman, and their five daughters. The threat of displacement, initially an abstract fear, becomes a concrete reality with news of pogroms in neighbouring villages. This historical context of state-sanctioned violence driving populations from their homes resonates with contemporary crises, where borders harden against those fleeing similar conditions. The review notes that in a time of rising antisemitism and constant news of displacement, where wheat fields are littered with bombs and burnt stalks, the story's relevance could hardly be otherwise.
Tevye's daughters, Tzeitel, Hodel, and Chava, make increasingly modern and autonomous choices about love and life. Freya Boltman plays Tzeitel, Ellen Ebbs plays Hodel, and Caity Plummer plays Chava. Tevye must weigh his love for them against his devotion to tradition. These personal struggles unfold against a backdrop of systemic oppression and impending forced migration, highlighting the human cost of political instability.
Resistance and Autonomy
Hodel's character, played by Ebbs, foregrounds strength even as she falls in love with activist Perchik, played by Maxwell Simon. The review states there is no question she will be an active participant in the fight for change when she leaves her family for his side. This portrayal of Hodel's choice to join an activist represents a powerful, albeit fictional, example of migrant agency and resistance against oppressive forces. Plummer's Chava also maintains a spine of steel behind her famed sweetness, while Boltman, Ebbs, and Plummer are described as fearless and joyfully unique.
Golde, played by Fishman, is depicted as the most resistant to change in the family, yet beautifully realised with a rich and forthright performance. The cast, described as superlative and welcoming, invites the audience to engage with this vibrant, close-knit community. Fein and resident director Gary Abrahams have built close character work into the production, ensuring every ensemble member delivers a detailed performance. Musical director Dominic Woodhead leads a loud and nimble band, with additional orchestrations by Mark Aspinall adding poignancy.
The Enduring Relevance of Displacement
The production's freshness, particularly in its portrayal of the women, offers a vital perspective on resilience in the face of overwhelming change. Tevye, described as funny and thoughtful, breaks the narrative barriers to speak to God and the audience about his life and dreams. Ben Adler, as the Fiddler, provides sonorous notes that challenge, empathise, and ruminate with Tevye, darkening as Tevye's thoughts complicate. The story's conclusion, with its forced separation and uncertainty, serves as a stark reminder of the ongoing global displacement crisis. The production is on at Theatre Royal Sydney until 3 October, then tours to QPAC in Brisbane from 9-25 October, Her Majesty’s Theatre in Melbourne from 31 October to 27 December, and His Majesty’s Theatre in Perth from 7-31 January 2027.