Fiddler On The Roof (Broadway) NYC Reviews and Tickets

"The superb new production certainly honors the show’s ebullience of spirit…But as directed by Bartlett Sher with his customary sensitivity, this multihued staging moves to a heart-stopping conclusion.…It’s just a musical, no? Yes, but what a musical. The score enters your bloodstream, indelibly, upon a single hearing...And Joseph Stein’s book miraculously blends borscht belt humor with a moving depiction of Tevye’s conflicted heart."
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"Bartlett Sher’s magnificent, life-affirming revival…Rich ambivalence runs through much of Sher’s elegant and deeply satisfying staging…This revival is splendidly acted…Revelatory direction, eloquent visuals and that sublime klezmer-inflected score —what more do you need? A great Tevye, and Burstein is nothing short of a miracle, finding the modern mensch in Tevye, as well as the hard-nosed, belief-bound peasant."
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"Sher's staging mines every dramatic nuance and every ounce of character-based humor in Joseph Stein's indestructible book…The dancing is simply extraordinary…The revival owes much of its emotional heft to impeccable casting..The duality of humor and horror is essential to 'Fiddler,' and as in every other aspect, this superb production captures that balance with enormous soulfulness...The show also closes the Broadway year on a magnificent note."
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"'Fiddler' is laid out simply, but that simplicity highlights the story’s poignancy — and its continued relevance...There are moments of great levity in this production — songs about matchmakers and raising your glass for a toast, among all the classics the show is known for — but its quieter moments were even greater standouts."
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"Some may take exception to some of Sher’s tinkering with the template of the beloved title, but few will find fault in Burstein’s gentle, lovable man of faith…Other touches seem unfinished, unclear or labored…Registering strongest among the new perspectives are the new movements and dances…Most of the cast breathes natural air into the production — sometimes with idiosyncratic touches that pop, and a few that fall flat…But in the end it’s Burstein who carries the show."
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“This production, intelligent and imaginative though it is, falls short of the mark, and the reasons why it does so say something revealing about the appeal of the show itself...Such things ought to make us weep—and in this production, they don’t... mostly, I think, because Mr. Sher has throttled back the feelings too far. One feels distant from his 'Fiddler,' neatly framed as it is by the vaulting proscenium arch of the Broadway Theatre, which is too big for the show."
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"A well-meaning but only intermittently inspired production...Choreographer Schechter has replaced Robbins’ evocative physical lyricism with caricature...Too often I had the impression of lines being recited rather than felt, and of lyrics being presented, rather than sung...In making a blunt connection between the deported Jews of Anatevka and today’s global tragedy of exile and dislocation, Sher does himself and this indestructible show a disservice. We’re smarter than that."
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"Sher has done himself — and audiences — a huge favor with his astute casting, particularly in the choice of Danny Burstein in the all-important role of Tevye…It’s a wryly, fully realized portrayal…Around this central pair orbit other excellent actors…'Fiddler' endures as a meticulously well-built musical… Sher’s production underlines the inherent strengths and adds to them, with some thrilling dances and a beautiful physical production."
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"One of the great and most enduring Broadway musicals. The new revival does a fine job mining this rich vein of material…Performances are very good, as is the lively dancing choreographed by Hofesh Schechter that taps tradition and some contemporary moves. But the curious scenery often gets in the show’s way. It makes for a distracting, busy and slow-pokey production of a tightknit musical."
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"Bartlett Sher respects the material while enlivening it. The scenes are staged with acute sensitivity, while a full orchestra plays the timeless score…Less successful is the spare visual design, in which two-dimensional, floating pieces of scenery are pitted against a gray brick wall…Bottom line: except for the questionable design, this is a superb production of one of the greatest musicals of all time with an exceptional cast."
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"Director Bart Sher and lead actor Danny Burstein deliver as movingly dramatic a 'Fiddler' as we’re ever likely to see…The performances are mixed. Jessica Hecht as Golde seems at first miscast and her accent out of place but her talent ultimately prevails…Sher’s emphasis on the dramatic core of the story is well served by Burstein whose warmly understated command of the iconic Tevye — mastering the comedy and tragedy — wins our hearts completely."
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"Positively transcendent — a luminous new view on a timeless tale…No element of the production better represents the happy synthesis of old and new than Hofesh Shechter's vibrant choreography…Shechter and Sher offer this story of a traditional society at the precipice as something universal, without negating the play's indelible Jewish identity...Sher endows this beautiful and timely production with a sense of optimism and continuity."
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"An exemplary revival, especially focused on the solidly acted and deeply thoughtful performances...This time around there's more grounded focus on Tevye's emotional conflict….A wonderful, character-driven score...Sung and acted splendidly. 'Fiddler' is a great example of intelligent, literate musical theatre that invigorates the heart and entertains the spirit. But it has to be done right. Some details can be argued, but overall, Bartlett Sher has done it right."
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"A new production of that oft-revived classic, 'Fiddler on the Roof,' that is original, vibrant, and, at times, surprisingly disturbing...Everything in Sher's production feels freshly imagined; everyone involved seems determined to scrub away any excessive nostalgia...There is plenty here to entice the most ardent fan of 'Fiddler on the Roof'...But never before has the sense been so strongly articulated that time is running out on Tevye, Golde, their daughters, and their neighbors."
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"Works well enough in the dialogue scenes, admittedly among the very best I've seen in any 'Fiddler'…But when the music starts, Sher and his choreographer, Hofesh Shechter make sure any and all energy and feeling evaporate...Flaccid new dance arrangements and uninspired new orchestrations further denude the show. Michael Yeargan's scenic design is lazy, too…Most of the performances are uncomfortably in line with Sher's depressive vision."
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"If the show has one flaw it is that the one hour and 40 minute first act seems long, but the shorter, fast-moving second act with its many events surely makes up for it. The ending is extremely moving and will have many theatergoers on the brink of tears...Bartlett Sher’s revival has the depth of a straight play and may be the best sung 'Fiddler' in recent memory. Danny Burstein, Jessica Hecht and cast make one fall in love with this musical all over again."
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"As he did with 'The King and I', 'South Pacific' and 'Golden Boy' Bartlett Sher has brought his own vision to this production and yet remained true to the show's view of tradition as ongoing, changing and ever meaningful to people of all faiths…Despite more than a quarter century of Teyves, the role now seems written for Danny Burstein...He connects so fully and naturally with the audience that his comic reflections on life seem as much with them as with God."
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"It is a sober revival, unsentimental, yet headstrong and emotionally charged...The down side of staging a mostly serious 'Fiddler' is that the more broadly comic characters pay a price...Act One takes its sweet time in surrendering its pleasures...Act Two, on the other hand, feels in a hurry to get the audience out before the three hour mark...Hofesh Shechter’s sharp-edged choreography is thrilling."
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"The biggest surprise of a production directed by Bartlett Sher, is how ultimately unexceptional his 'Fiddler' feels...I wondered during the show whether the cast had been under-rehearsed...The fiddler in this production at one point flies in the air. This is again, perhaps a way to underscore how rootless Tevye and the rest of the villagers are – and again, an embellishment not needed, given the clear message from the script...But Danny Burstein does make this 'Fiddler' worth seeing."
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"Staged with humor and humanity, this 'Fiddler on the Roof' redefines tradition…Burstein’s patriarch is infectiously charming, occasionally boyish, but with the gravitas needed…Burstein has plenty to work with, including a terrific sparring partner in Hecht and an ensemble of triple-threat character actors…The creative team assembled to help realize Sher’s vision is mostly successful."
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"That red parka even lends a splash of color to Sher’s elegant, well-acted, if not especially distinct revival...He conjures graceful and truthful performances from his actors and draws humor from their humanity."
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"This return to Tevye and his isolated, increasingly beleaguered Anatevka is perfectly respectful. It should more than satisfy those audiences familiar with it as well as audiences who’ve never seen it before...Burstein also fronts a cast in which every member is up to the task...Sher and Shechter stage a tableau that instantly conjures the refugees from the Syrian conflict now treading across Europe. If only for this reason, this 'Fiddler' is forever."
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"With its wonderful music and lyrics the show is virtually indestructible…Bartlett Sher, who has so adeptly directed revivals of classic musicals at Lincoln Center, does not disappoint...Ultimately, the show’s success rests on its Tevye. Danny Burstein is superb, offering more humanity and less shtick than some of his predecessors…The show’s emotional highlights worked their usual magic on me. It’s good to have this stellar example of the golden age of American musicals back in town."
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"The best 'Fiddler' we've seen since the original…'Fiddler' continues Sher's streak with revivals of musical classics…The new dances are lively and evocative…The company is generally strong, although Burstein is in a class by himself…Here we have a new 'Fiddler' which should thrill audiences who are getting their first look at the iconic favorite, while at the same time reinforcing the wonders of Bock & Harnick's classic for old friends and fans."
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"When done properly, 'Fiddler on the Roof' has a spectrum of ingredients that make one laugh, cry and appreciate the struggles of Jews. In this production, the added wrap-around intro and closing are superfluous...The power of the show speaks for itself, as art should, and an aware audience can make the connection without the need for a contrived exclamation point."
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"Without sacrificing the humor, Burstein layers his performance with the disappointment, anger and resignation Tevye experiences as he confronts a changing world The result is precisely the kind of darker interpretation that director Bart Sher likes to excavate when he revives classic musicals...But in this case some of it works (Burstein's performance) and some of it doesn't…I might have been more accepting if the singing had been better…I wasn't crazy about the dancing either."
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"Danny Burstein's performance anchors a production that, like Sher's previous stagings of American classics reveals both the timelessness and the contemporary pertinence of the work. His 'Fiddler' is arguably even more revelatory…Sher does this with the support of a seamless cast and an intuitive, inventive design team...What this 'Fiddler' shows us most powerfully is the resilience of love. For all its specific insights, it delivers that simple and universal message, thrillingly."
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"Broadway has seen more visually beautiful stagings of 'Fiddler,' and there definitely have been funnier ones. But Sher achieves a dramatic coherence that appreciates the musical’s showbiz qualities but honors the authenticity of its humanity…What the production does not have is the stunning originality that made Sher’s other big revivals singular. Michael Yeargan’s sets lack character...Worse, much worse, are the busy, wiggly-armed, contorted dances."
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"The revival of 'Fiddler on the Roof' is wonderful — not because it offers a wildly different take on the popular musical, but by revealing the heart and soul of the story in such a fresh way...The production runs almost three hours, but it moves so smoothly, it seems much shorter."
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"This new 'Fiddler,' gorgeous and affecting, is a respectful staging of the Jerry Bock-Sheldon Harnick classic, with modernities here and there to keep us on our toes…Burstein is the real deal, a vital, yet eminently relatable Tevye...Sher’s 'Fiddler' is a directorial feat, even if some of his choices will spark debate. I had mixed feelings about Michael Yeargan’s scene design…Sher’s staging was a welcome reminder of the ways the musical has permeated into our lives."
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"This production brings a refreshing new vision to traditional Hasidic and Russian folk dances while also retaining the spirit of original choreographer Jerome Robbins. This brings a renewed adoration and appreciation of a work that has indeed become a tradition...Be prepared to be thrilled once again by a grand and emotionally moving 'Fiddler on the Roof.'"
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"With its brilliant book and its rousing and thrillingly integrated score, 'Fiddler' is the kind of work where familiarity breeds only more affection. Sher’s company validates that affection by imbuing the milieu with a crackling sense of life...Throughout the show, the large orchestra contributes immeasurably to the show’s vivacity and emotional strength…A show that for the most part excels in bringing a classic work to grand life, with tradition beautifully deep in its soul."
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“Broadway musicals are so often disappointing because they don’t really believe in the value of their silliness. In other words, they hedge their bets...The joys of this show (and this particular revival) come in its ability to make the audience submit to childish but essential feelings, the kinds that inspire us to belt show tunes off-key and dance like idiots. Indeed, I soon found myself vigorously waggling my arms like Tevye immediately after the show. It felt exquisite.”
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"Mostly your grandfather’s 'Fiddler,' with Danny Burstein affectingly confronting the wrenching journey awaiting Tevye…Though somewhat reimagined visually and given an extraneous framing device, its strengths are the same as ever…Sher may have forced a couple of needless revisions on this 'Fiddler,' but he’s too smart to over-mess with material this special. A competent 'Fiddler' is welcome in town anytime, and this more-than-competent rendering is likely to be around for quite a while."
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"Scaling Tevye down makes this more of an ensemble piece, and other Sher fingerprints will be worth talking about for the rest of the season—from the framing device to the Chagall-esque flying fiddler to the suspended houses. But there’s no argument that 'Miracle of Miracles,' 'To Life' and the bottle dance in 'Sunrise, Sunset' are zestily done."
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"Burstein's work here is gentle, warm-hearted — he gives us a deeply spiritual and loving man…The other wonder here is the choreography…It's staggeringly beautiful…There are so many solid performances here that it seems almost petty to single out individuals…Alas, sometimes you can have a little too much of a good thing, and this 'Fiddler' starts to drag in the second half…Sher's generally excellent additions push an already-long show to the three-hour mark."
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"I’d describe 'Fiddler' as refurbished: its structure’s been reinforced, and it’s been given a coat of fresh paint. So, yes, Sher’s 'Fiddler' is more useful and appealing than its previous revivals...I’m somewhat bothered by Sher bookending the show so obviously with Tevye as Everyman...Most arresting about the production is the new, robust choreography...Danny Burstein’s Tevye, refreshingly more youthful than world-weary, brings us movingly along with him."
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"Vibrant and brilliant and heartfelt...The only odd note in this show is Golde, who is too shrill and one dimensional, and struggles with the vocal requirements. She never reveals her crusted-over warmth and her duet with Tevye is consequently underwhelming. But brilliant touches are everywhere elsewhere...It all adds up to a remarkable achievement. From the first moment to the profound last, this 'Fiddler on the Roof' is a triumph. The show is the star."
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"A moving but occasionally muddled new production…Danny Burstein brings warmth and humor to Tevye…The supporting cast is also excellent…Some of Sher’s innovations seem ill-advised, including a framing device suggesting that Tevye’s descendants survive the Russian pogroms to become barn-jacket-wearing modern American Jews…Audiences will feel the customary tug of sentiment."
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"Not schmaltzy at all, but rather subdued, perhaps a bit too subdued for all the gusto and verve that 'Fiddler' should offer...This respectful production makes one change: the introduction of a new framing device...But—it’s a big, sad but—there’s something missing. This 'Fiddler' is not balanced perfectly between heart-stopping emotion and stomach-curdling schmaltz. It errs on the side of gentility, of relatability."
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"If ever someone were perfectly cast it's Danny Burstein as Tevye...Hardly any of the other actors match Burstein's vocal prowess...Their acting is reliable but their singing just doesn't rise to the occasion…The bottom line with this revival is that if you like the show you'll like the show. Is this a can't miss, compelling revival? No."
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"It charms, amuses, and stirs. Often in the same moment...The joys of the production become abundantly apparent...This 'Fiddler' looks extraordinary...It all combines to make this 'Fiddler on the Roof' one that, for today, seems as if it is somehow definitive."
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"Now we have another game-changer in town...It applies to director Bartlett Sher’s exciting new vision for 'Fiddler on the Roof'...'Times are changing' and Sher has caused a change in 'Fiddler', too, making an already potent story far more involving...You’ll have to experience this 'Fiddler' yourself. Do discover the substantial number of thoughtful touches that Bartlett Sher has brought to a classic which in the process has created a classic of his own."
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"The power of this classic moved me to tears. Danny Burstein’s performance as Tevye is instantly lovable, and alternates between hilarious and heartbreaking. The music is so strong; practically all of the numbers are classics. Despite clocking in at nearly three hours, the show feels trim and sparse — each song, each moment, feels necessary...Sher conjures up images of Syrian refugees and makes a connection between their plight and Tevye’s. It’s brilliant, artistic, and relevant."
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"Extraordinary Director Bartlett Sher in this unfinished masterpiece of a restoration to the New York stage yet again has put his stamp on one of the miracles of American musical theatre with clarity, love and courage. Never have the songs been better...I’ve seen five different productions of 'Fiddler' and there’s something spellbinding in each of them when everybody on stage cares. When they care, we care. Simple. Marvelous. But none has achieved the intensity of the highs in Bartlett Sher’s production."
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"The dancing is simply sensational, the orchestrations the best ever and the cast certainly gives it a super effort to keep us memorized. If you have never seen it (and unless you’re under 6 you probably haven’t) it’s a must see for anyone looking for Broadway's best."
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"The current revival of 'Fiddler on the Roof' is a highly satisfying production with a solid cast, exuberant choreography, and a memorable score...Director Bartlett Sher nimbly and energetically guides the large cast of 'Fiddler on the Roof.' Whether in scenes with a multitude of performers or those more intimate Sher shows his strength and artistry."
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"The Director stages the scenes with great sensitive and vitality...The book by Joseph Stein is still relevant for today’s audiences are still relevant...'Fiddler on the Roof,' one of the greatest musicals of all time and which has meaning to the widest span of theater goers is a must see."
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"The approach is one of reinvention by revising the intentions of the text. No longer is 'Matchmaker' a saccharin, young female fantasy, it is now used to cheer up a very frightened sister. The dance numbers are not performed with Broadway finesse, but rather with a roughness added to the dazzle that has you believing these are real people, really dancing to celebrate...Everything resonates that much deeper."
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“Tevye's situation isn't exclusive to the village of Anatevka; it's still happening a century later all over the world. In too many other lands, people are still driven from their homes. There's no one place for these people to go, and this production masterfully makes the point as the show concludes…It's easy to fall into the trap of acting goofy and showy as Tevye, but Danny Burstein hits just the right note. Tevye seems to be a role that Burstein was born to play.”
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"Narrative sometimes gives way to choreographic frenzy, and pathos is reduced to period-piece ritual...Michael Yeargan’s decors strip the stage to bare requisites, ignoring the erstwhile charm of folksy realism…Danny Burstein is agreeable, self-effacing and, alas, somewhat dull. Call him smaller than life. He enjoys sensitive support, however, from Jessica Hecht as his long-suffering wife...The nostalgic crowd at the preview appeared to love everything."
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"The guy certainly knows how to take a classic musical and make new productions of it distinctive. But distinctive does not necessarily mean better, which is unfortunately the case with the revival of 'Fiddler'...In this revival, Sher has eliminated some of the schmaltz and, in doing so, he has removed some of the show’s heart as well."
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"Burstein is remarkable in the role of the father who must deal with the ever-changing world…He’s a magnificently talented singer and actor, with a wonderful sense of timing and an inner sense of joy and mischief that is so needed to play the lovely warm and funny character, Tevye…As for the other roles and songs, there are many highs and a few lows throughout the show…This brings me to probably my biggest complaint with the show. I just didn’t like the set design."
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