There is a reason Fiddler on the Roof has remained one of the world’s most beloved musicals for more than 60 years. Its story of family, faith, love and tradition continues to resonate across generations. This acclaimed transfer from London’s Regent’s Park Open Air Theatre has arrived at the Theatre Royal Sydney with astonishing impact, delivering a production that feels both timeless and urgently relevant. It is musical theatre at its absolute finest.
Jordan Fein’s direction strips away any sense of nostalgia and instead leans into the humanity of the piece. Every relationship feels authentic, every moment of joy is earned, and every heartbreaking turn lands with devastating force. Rather than presenting Fiddler as a comfortable classic, Fein reveals the grit beneath the traditions, allowing the audience to feel the uncertainty and resilience of a community simply trying to survive.
Tom Scutt’s Olivier Award-winning design translates beautifully into the Theatre Royal. The layered set creates a constantly evolving world, while sweeping wheat fields and weathered timber evoke the hardships of village life without ever overwhelming the storytelling. His costume design perfectly reflects the poverty and practicality of the characters, grounding the production in an unmistakable sense of realism.
Julia Cheng’s choreography is nothing short of breathtaking. The famous Bottle Dance is every bit as exhilarating as audiences hope it will be, performed with astonishing athleticism and precision by the male ensemble. Yet throughout the evening, every movement serves the story, from joyful wedding celebrations to quieter, deeply intimate moments. Combined with Aideen Malone’s atmospheric lighting and Nick Lidster’s richly detailed sound design, the production surrounds the audience in Anatevka’s world.
Dominic Woodhead leads a magnificent orchestra that never overpowers the performers, instead providing a lush, expressive score that supports every emotional beat. It is a reminder of how glorious a full musical theatre orchestra can sound when it is allowed to breathe alongside the performers.
This production truly proves that it takes a village. Every member of the ensemble performs with complete integrity, creating a community that feels utterly lived in. Whether at the centre of the action or simply inhabiting the edges of the stage, every performer contributes to the emotional heartbeat of the production.
The supporting cast is exceptional. John Waters is wonderfully commanding as Lazar Wolf, bringing both humour and authority to the role. Sigrid Thornton embraces every eccentricity of Yente, delivering a deliciously entertaining performance that never loses sight of the matchmaker’s good intentions. Maxwell Simon continues an extraordinary year on Sydney stages with another assured performance as Perchik, while Jacob Steen’s soaring vocals make Fyedka impossible to ignore. Felix Star is instantly likeable as Motel, finding both the awkward comedy and genuine sincerity of the young tailor. Danielle Barnes is quietly heartbreaking as Shandel, the long-suffering mother trying to hold everything together, while Ellen Ebbs delivers one of the evening’s standout performances as Hodel, capturing both youthful hope and emotional maturity.
A special mention must go to Ben Adler, whose mesmerising performance as the Fiddler quietly threads the entire production together. Remaining on stage throughout much of the performance, Adler becomes a silent guardian, observing, guiding and haunting the lives of Tevye’s family. His extraordinary musicianship adds another emotional layer to an already richly textured production.
Ultimately, however, the night belongs to Tory Sussman. His Tevye is extraordinary. Vocally magnificent and emotionally fearless, Sussman captures every contradiction within the character: his warmth, humour, stubbornness, vulnerability and unbearable heartbreak. His conversations with God are filled with wit before giving way to moments of anguish that are almost impossible to watch without becoming emotional. It is a performance of remarkable depth that anchors the entire production.
As Australian audiences continue embracing the return of classic musicals, Fiddler on the Roof stands as a shining example of why these works endure. This is not simply another revival. It is a deeply moving, beautifully crafted piece of theatre that reminds us why live performance matters. Powerful, heartfelt and unforgettable, this is a production that will stay with audiences long after the final note fades. Don’t just see it… experience it.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
Fiddler on the Roof runs for 2 hours 40 minutes (with a 20-minute interval) and plays at the Theatre Royal Sydney through 3 October 2026. Tickets are available through Theatre Royal Sydney.
Disclosure: The Plus Ones were guests of Good Humans PR
Image credit: Daniel Boud
