Fiddler on the Roof (Theatre Royal) ★★★★

Music by Jerry Bock. Lyrics by Sheldon Harnick. Book by Joseph Stein. Theatre Royal Sydney. 31 Jul – 3 Oct, 2026.

Some of London theatre’s most exciting modern talents bring their award-winning production of the classic Fiddler on the Roof to Sydney. Is it a “wonder of wonders,” a “miracle of miracles,” as the London critics thought?

In 1905, Jewish milkman Tevye (Troy Sussman) tries to look after his family of five daughters, find them good husbands, and set them up for a future in a rapidly changing world. When local matchmaker Yente (Sigrid Thornton) tries to match Tevye’s daughter Tzeitel (Freya Boltman) to a much older man, the old world and the new begin to collide. With his daughters proving more strong-willed than he imagined, Tevye fights to hold onto the best of tradition.

Lovers of big casts and full voices will get a thrill from the opening number, “Tradition,” which kicks in like a starting pistol. It’s been a while since the Theatre Royal has been engulfed in such a strong sound. Director Jordan Fein directs for emotion and layers the vocals on top — the result is a deeply human musical that feels both heartbreaking and elating. The addition of violinist Ben Adler as The Fiddler, a constant watchful presence, is the cherry on the cake.

Sussman’s Tevye finds the natural, good-natured comedy of the story without dipping into vaudeville. As his three strong-willed daughters, Freya Boltman, Ellen Ebbs and Caity Plummer settle into an easy innocence. Alexis Fishman similarly pitches Tevye’s wife, Golde, as a clear sitcom “harassed housewife” without veering into shrill stereotypes. The cast keep their Australian accents, which takes a second to get used to but becomes seamless, adding a sense of universality to the drama.

Many will come to Fiddler on the Roof with a sense of familiarity, whether from high school productions, the 1971 film, or its endless echoes in pop culture. First staged at London’s Regent’s Park Open Air Theatre before moving indoors to the Barbican, this production has amassed a run of five-star reviews and scored 13 Olivier nominations and three wins, including Best Musical Revival.

And it shows. Despite the move indoors, Tom Scutt’s simple but imposing set, dominated by a wooden canopy, has an epic quality, hinting at generations of history hidden beneath the soil — a connection to land Australians know well. When the canopy descends to form the chuppah, that connection deepens further. It’s majestic to look at, though you can’t help feeling a pang of FOMO for its original open-air staging, surrounded by trees and sunset colours, timed no doubt for “Sunrise, Sunset.”

Joseph Stein’s book remains sadly relevant, lacing in the growing threat of turn-of-the-century antisemitism as it swept across Europe. The sleepy village of Anatevka may try to ignore the outside world, but the forces of modernity push through regardless — for better or worse. It’s impossible not to view this production through the lens of current antisemitism, including the events of the Bondi shooting, which brought slightly heightened security to opening night. Fiddler may seem quaint by comparison, but that doesn’t dull its truth.

For a show that has rarely strayed far from Sydney stages, this Fiddler on the Roof feels worth revisiting. Try as you might, you’ll still be singing “If I Were a Rich Man” all the way home.