I usually rate shows by how they make me feel, and it’s safe to say that the Fiddler on the Roof UK and Ireland tour made me feel everything. I had the pleasure of attending the opening night performance at Manchester’s Palace Theatre this October, and what a show it was.
I’ll admit, I went in almost completely blind. I hadn’t seen the film or any earlier productions, and I did very little research beforehand, so I genuinely didn’t know what to expect. But put it this way: if I’d had the chance to study Fiddler on the Roof during my A-Level Media Studies course back in sixth form, I would’ve had a field day analysing its portrayals of faith, tradition, change, and humanity — and don’t get me started on the fiddler himself, acting as a living metaphor for resilience as he forever plays his fragile tune of hope against the chaos of a world that refuses to stand still.
About the show
The story centres on Tevye, a poor milkman living with his wife, Golde, and their five daughters in the Jewish village of Anatevka.
Filled with humour and heart, the musical follows Tevye as he wrestles with his devotion to tradition in a world that’s changing around him. Part of this tradition is that he must find suitable husbands for his daughters, which is a task already complicated by his lack of wealth. But his daughters have other ideas. One by one, the eldest three choose their own partners, each love story testing Tevye’s faith and convictions while pushing the boundaries of tradition a little further.
After its sold-out West End success and an impressive three Olivier Awards, Fiddler on the Roof has taken to the road, touring the UK and Ireland to share its magic with new audiences.
Tevye (Matthew Woodyatt) and Golde (Jodie Jacobs)
I’ll start by saying that the entire cast deserves immense praise. Every performer on stage and behind the scenes truly shone. From the music and choreography to the costumes and set design, every detail reflected care and craft.
Taking on the role of Tevye, Matthew Woodyatt completely commanded the stage. He brought to life everything you’d hope for in this iconic character, and more. You could feel his inner conflict as he wrestled between faith, family, and change, and his performance made those struggles feel raw and human. At times, he drew deep sympathy, while at others, he had the audience in tears of laughter. His sharp wit, expressive delivery, and impeccable comedic timing anchored the entire show.
Woodyatt’s on-stage chemistry with Jodie Jacobs, who plays Golde, was equally compelling. Together, they carried both the humour and heartbreak of the story with grace and authenticity. Jacobs brought a warm, motherly love to the stage, portraying an endlessly patient wife with a voice that could break hearts.
The Daughters of Anatevka
All of Tevye’s daughters were fantastic, especially the eldest three: Tzeitel (Natasha Jules Bernard), Hodel (Georgia Bruce), and Chava (Hannah Bristow). Their performance of “Matchmaker” was truly magical – revealing their distinct personalities in a single, beautifully choreographed sequence. The number captured the innocence of the two younger sisters, naive about the realities of love and marriage in their world, in contrast to Tzeitel’s pragmatic realism. What begins as a playful, hopeful song gradually transforms into something more sobering as Tzeitel reveals the harsh realities of their circumstances to her sisters.
A lot is said in just that one scene, as you can almost feel the shift as the girls’ excitement melts into worry and caution before your eyes. But it’s not just that one performance that stands out.
Natasha Jules Bernard as Tzeitel is a star in her own right. Her performance during Tevye’s Dream cemented it for me. Granted, she’s supported by exceptional choreography, ghostly smoke effects, the humour of the Rabbi’s (Mark Faith) “Mazel Tov, Mazel Tov!” interjections, and theatrics that could give The Phantom of the Opera a run for its money. But it’s Bernard who truly steals the moment.
In the dream sequence, she embodies both her grandmother and Lazar Wolf’s (Michael S. Siegel) deceased wife, helping Tevye convince Golde that their daughter must not marry Lazar Wolf. Her transformation is spellbinding – her voice soaring and her scream wickedly sharp as she pierces through the chaos. It’s a powerhouse performance that lets Bernard fully showcase her range, timing, and sheer stage presence, and she absolutely runs away with it.
A musical of reflection
I don’t want to spoil the plot too much for those, like me, who have never experienced Fiddler on the Roof before. Even though it’s a classic, I think first-time viewers have a rare privilege to encounter its story with fresh eyes, unshaped by the film or earlier productions.
However, what struck me most was the heart-wrenching realisation that, in the end, it hardly matters whether Tevye chooses tradition or change, or even his daughter’s happiness. The deeper truth is that the unbroken tradition is the continual uprooting – the cycle of displacement that defines their lives across generations.
As the curtain fell, I realised that Fiddler on the Roof isn’t just a story about faith or family. It’s a reminder of how we all try to hold on to what matters most, even when the world around us changes beyond recognition. It’s funny, moving, and heartbreakingly human, but it also forces you to confront the uncomfortable truth that its message remains painfully relevant to events both around the world and closer to home.
I went in not knowing what to expect, but left feeling deeply moved, saddened yet full of admiration and with a heart renewed by a show that feels as powerful and necessary now as it ever has.
Full details on dates, cast, and venues can be found on the official Fiddler on the Roof website.
