Having found the film version rather inaccessible and confusing as a child, this has never been my favourite musical. However, refrains of ‘If I Were A Rich Man’ are often sung in our house, and I was interested to see how this show transfers to the stage as I’ve never seen a staged production before.
Maybe because I’m older and more attuned to subtly and politics, and because Trevor Nunn is a fantastic director, this production at the Menier was not only accessible but also seemed apropos to today’s sociopolitical climate. Prejudice, fear, rebellion, change, displacement and acceptance are all themes that flow out of this show, and each manage to hit home for various different reasons. Although there is a huge sociopolitical message in this show, I don’t think that it was too overpowering; it’s nice to see a production where the message isn’t rammed down the audience’s throat!
At 2h50 I was, however, concerned that this show would feel long and like it was dragging but, despite the uncomfortable nature of the Menier seating, I really didn’t notice the show being longer than usual. I think that was because the intimacy of the Menier manages to bring you into the world of Anatevka.
Andy Nyman is completely endearing as Tevye and you just want to give him a hug as he faces each new challenge and sees his world collapse around him. Nyman is a great actor and has a good voice, but you only seem to hear that in the chorus numbers as his solos are more speak-sung than sung. This was really unfortunate as it felt like he had so much more give. That said, he gives quite a strong performance and almost manages to dispel the spectre of Topol, who looms over everyone who ever plays Tevye.
Golde was played by Gaynor Miles when I saw the show and I am sorry to say that she seemed particularly weak, both in terms of her acting and singing. Perhaps just an off-night for her. Molly Osbourne, Harriet Bunton and Kirsty McClaren are great as Tzeitel, Hoddel and Chava (respectively); as are Joshua Gannon and Stewart Clarke as Motel and Perchik (respectively). There just isn’t enough time in a stage production to allow their stories and characters develop, so sometimes the changes and transitions felt a little rushed and forced. The chorus numbers also felt a little pitchy at times, which is unusual for the Menier as everything is normally pitch perfect given that there really is nowhere to hide in such a small space.
All in all, a good production, and one I’m glad that I have seen, but I won’t be rushing back.