Review: Fiddler on the Roof - Youghal Musical Society

Society name: Youghal Musical Society

Show name: Fiddler on the Roof

Date of attendance: 27^th March 2026

One of the first things that struck me on arriving at Youghal Musical Society’s production of 'Fiddler on the Roof' was the long list of sponsors and patrons in their programme. It immediately suggested a society that is well supported and valued within its community. In many ways, that strong sense of community reflects the very heart of 'Fiddler on the Roof', making it a particularly suitable choice of show. This was a production that gave the audience real enjoyment, balancing humour with the more moving and emotional elements of the story. 'Fiddler' is a musical that still feels highly relevant, perhaps now more than ever, with its themes of displacement, change and uncertainty. There was something especially fitting about seeing this story presented in today’s world, and Youghal Musical Society did a good job overall on a show that felt both timeless and very current.

There was a warm and friendly atmosphere front of house, which created a positive impression from the start. The decision to place the ticket collection point at the back of the hall worked very well, avoiding congestion at the main entrance and allowing the audience to enter without any discomfort. There was also a good effort made to transform the GAA hall into a more theatrical space, with draping helping to offset the bare look of the walls. The stage preset as we entered was a very nice touch. The simple image of a fiddle resting on a bentwood chair was thoughtful and effective. 

Director Séamus Power presented a solid production which understood the show’s main themes of family and community. There was some strong work in the more emotional scenes, where the poignancy of the story came through well. There were, however, areas that needed more attention. Accents were inconsistent across the cast, with some performers aiming for an Eastern European sound while others sounded distinctly Irish. Some staging ideas worked very well. The use of freezes in the inn scene was particularly effective. The dream sequence was another real highlight, both dramatically and musically. During the Sabbath Prayer scene, sightlines were not ideal, as Tevye was hidden from part of the audience during the song. Late entrances were also a recurring problem, leading to some lengthy, awkward pauses in the action while performers made their way on stage. There was, however, very good attention to detail in other scenes, especially in the wedding ceremony, which felt authentically presented. The train station scene between Tevye and Hodel was also beautifully done and was one of the emotional high points of the production. In the closing moments, the choice to have the cast leave through the audience as they fled Anatevka was very effective, creating a quiet but meaningful link between the people on stage and the community watching them. It was a thoughtful and fitting ending. Nice work overall from Mr. Power.

Anna O’Sullivan led a very capable musical team, working with a very reduced orchestra placed to the right of the stage. The group of piano, keyboard, clarinet, violin, percussion and bass did their best to cover what is one of the finest scores in musical theatre. While some of the finer detail of Jerry Bock’s music was inevitably missing, the musicians themselves should be praised for the quality of their playing and the commitment they brought to the performance. Choral singing was of a very high standard. 'Tradition' opened the show with a powerful and confident wall of sound from the full company, setting the tone extremely well. 'Sunrise, Sunset' was another musical highlight, with excellent balance between the voices and very good use of dynamics, creating a genuinely moving moment. Underscoring was often too heavy under spoken dialogue. In the same way, 'Far From the Home I Love' suffered, with the bass and keyboard much too heavy for what should have been a more intimate moment. 

Kate O’Callaghan worked well with the range of ability within the cast. 'Fiddler on the Roof' does not offer the same number of dance opportunities as many other musicals but what was included was well staged and suited to the performers involved. There was effective use of circular formations in 'Tradition', which nicely underlined the themes of family and community. 'To Life' felt rather static at times, particularly given the natural energy of the song. That said, shortening it was probably a wise decision and when movement did happen, the rough, drunken quality of it felt entirely right for the scene. The strongest choreographic moment came in the wedding scene, which gave the whole production a lift. The bottle dance in particular was very well done, with the four dancers handling this famous routine with great assurance.

Paul Finn gave an outstanding performance as Tevye, with a natural warmth and ease that created a lovely bond with the audience. This was a commanding portrayal that held the whole production together, full of intelligence, thought and detail. Vocally, Mr Finn was in excellent voice. 'If I Were a Rich Man' was sung with a light, playful touch, while his singing in the Chavaleh sequence carried real emotional force. His comic timing was especially strong, always played with a twinkle in the eye and never overdone. In the Chavelah sequence, he gave a deeply moving performance, making Tevye’s struggle between faith and family completely believable. The emotion in his voice, especially when it cracked, felt utterly genuine. This was a superb, fully realised performance from a very talented and highly engaging performer.

Orla Irwin gave a very strong and assured performance as Golde, establishing from the beginning a woman very much in charge of her household and not someone to be taken lightly. Her accent was excellent and consistent throughout. There was clear authority in her performance, which suited the character well, while still allowing glimpses of the loyalty and care that lie beneath Golde’s harder exterior. There were some lovely touches that revealed the softer side of the character too. Some key moments were handled with sensitivity, particularly in 'Do You Love Me?', which felt believable and very well judged.

Elisa Redmond gave an engaging performance as Tzeitel, bringing a warm stage presence to the role throughout. Her imitation of Yente in 'Matchmaker' was particularly enjoyable, played with confidence and good comic effect. She was at her best in the more emotional scenes, which always felt natural and believable. Her plea to Tevye not to force her into marriage with Lazar was especially well handled, capturing Tzeitel’s fear and determination in a very genuine way. A thoughtful performance with some very strong moments.

Nicola Romejko gave a lovely, thoughtful performance as Hodel, bringing gentle strength and intelligence to the role. She had a very pleasant stage presence that suited the character and conveyed Hodel’s curiosity and growing independence very well. Vocally, this was the performance of the night. 'Far From the Home I Love' was sung beautifully, both technically and dramatically. It was a most sincere and moving moment.

Ellen Ryan delivered a strong, moving performance as Chava, Tevye’s thoughtful and well-read daughter. She captured the character’s quiet intelligence very well. Her emotional commitment to the role was a major strength. The scene in which she pleads with Tevye to accept her relationship was genuinely harrowing, with her cries full of raw feeling. It was a very believable and well-judged piece of acting, capturing the desperation and heartbreak of the moment in a very believable way. 

Theresa Keane was excellent as Yente the matchmaker, showing all the qualities of a strong character actress. She brought great energy and precision to the role, with a particularly sharp sense of timing. Her understanding of pace was clear in her early scene with Golde, which can often lose momentum but in this case was lively and engaging. Vocally, Ms Kane was also impressive. She used her voice to strong effect, in the rumour scene, which she delivered with great energy.

Brendan Scully gave a solid performance as Motel the tailor, capturing the character’s naturally shy and unassuming nature. His portrayal emphasised Motel’s meekness. While the nervousness and vulnerability were very evident, there was maybe room to develop his journey further, allowing us to see more of the inner strength that would make Tzeitel love him in the first place. Mr Scully sang well, especially in 'Miracle of Miracles', which was delivered with sincerity and a sense of joy. 

Cian O’Rourke delivered one of the strongest acting performances of the evening in the role of Perchik, the student whose progressive ideas challenge the traditions of Anatevka. Mr O’Rourke brought excellent stage presence, very clear diction and a strong understanding of the text. There was also nice detail in his growing relationship with Hodel, where the softer side of the character came through. He also sang very well, most notably in 'Now I Have Everything', which was delivered with sincerity and strong musicality.

Matthew Doherty gave an upbeat and engaging performance as Fyedka, bringing a confident presence to the role. While Mr Doherty brought strength to the part, there were moments where the performance leaned a little too much towards forcefulness. A gentler, more reassuring quality at times would have helped to bring out Fyedka’s kindness and sincerity more. He sang very well. His solo in To Life was particularly strong, showing a clear tenor voice with impressive range and a pleasing tone.

Paudie Sheehan did well as Lazar Wolf, the butcher. He brought a solid presence to the role, capturing Lazar’s sense of entitlement in pursuing a match with Tzeitel. There were some very enjoyable comic moments, especially in his interactions with Tevye in the inn scene. His drunken scene after 'To Life' was also entertaining. Vocally, Mr Sheehan gave a solid account of himself, contributing well to 'To Life'. 

'Fiddler on the Roof' offers a wealth of supporting roles and this allowed Youghal Musical Society the opportunity to involve a large number of members.

Nicola Barron was excellent in her cameo role as Grandma Tzeitel in the dream sequence. Her characterisation was strong and clear and despite a slight timing issue, she was well supported musically, recovering with confidence.

Charlotte Black gave a very strong performance as Lazar’s late wife Fruma Sarah, striking just the right balance between the grotesque and the comic. This was a powerful contribution both dramatically and vocally, adding greatly to the impact of the dream scene.

Eddie Hayes brought good energy to the role of the Rabbi. While his accent would have benefited from more work, he handled the role well and contributed positively to the ensemble. Adam Whelan also did well as Mendel, the Rabbi’s son, showing good stage presence, though quicker pick up of cues would have helped tighten the flow of the scenes.

Frank Ryan was a strong character actor as the innkeeper, Reb Mordcha. His wedding announcements were particularly funny, delivered with great expression, and his interrupted attempts to sing during the wedding were handled with good comic timing.

Michael O’Riordan gave a strong and authoritative performance as the Constable, with a resonant voice and clear diction. There were moments where a slightly lighter touch might have helped, as the Constable is not a straightforward villain but his overall presence was impressive.

Liam Roche made a valuable contribution as Avram the bookseller, especially in the rumour scene, where he brought good energy and clarity. He also supported the ensemble very well throughout.

Finally, the younger members of the cast – Holly Bates, Abi Flanagan and Hamish Wilson as Shprintze, Bielke and the Fiddler – all did very well. They brought real charm to their roles, and it is clear that the future of Youghal Musical Society is in safe hands.

The ensemble was a very important part of the production from the first entrance in 'Tradition', where they moved and sang with confidence and purpose. They helped create the strong sense of community that is so central to 'Fiddler on the Roof' and this carried through the whole performance. They brought good energy to the wedding scene, lifting the atmosphere in contributing to one of the most enjoyable parts of the show. In contrast, more reflective sections such as 'Anatevka' and the final exodus were handled with poignancy. Choral singing was very strong throughout. 

Margaret Kiely did a very good job as stage manager, supported by an efficient and well-organised crew. Scene changes were handled smoothly throughout, helping the show to keep moving at a good pace. The opening and closing of the central structure, transforming it to the interior and exterior of Tevye’s house was well managed and carried out with ease. The handling of the cart, particularly given the very limited wing space, was also very impressive. 

Some elements of the set design worked well. The backdrop of the barren landscape suggested poverty and cold, helping to place the audience firmly in the harsh environment of Anatevka. The central structure served a useful practical purpose and was used effectively, opening out to form the interior of Tevye’s house. However, the overall picture felt rather sparse at times. There were also some stylistic inconsistencies. The painted stove inside the house did not quite fit with the rest of the design. In a show like 'Fiddler on the Roof', where realism is so important, this stood out and weakened the authenticity somewhat. 

Lighting is an area that could be improved for future productions. While there were some very good ideas on show, greater consistency and better coordination would have helped greatly. Cueing was not always tight and at times there seemed to be a lack of coordination with stage management, particularly when set pieces or performers were not fully in place before lights up. Blackouts also did not always coordinate with cast exits, with performers often leaving before the lights had fully gone. The position of the follow spots at the back of the hall also caused problems. Set too low, they sometimes caught the heads of audience members and spilled light into the auditorium. The lack of a proper front lighting position also had a noticeable impact. There were, however, some very effective moments. Tevye’s “What do I think?” moment was supported nicely by a blue wash and a well-placed follow spot, creating a clear and striking image. The red and yellow wash on the backdrop at the end of the wedding was also very effective, adding strongly to the drama. 

Sound quality was generally very solid throughout, with a good overall mix. The use of sound effects was effective. The atmospheric wind in the train station was particularly good. The burning sound effects at the end of the wedding were also very effective and helped heighten the drama. In general, the band was well mixed, though there were some exceptions. 'Far From the Home I Love' required attention, with the bass and keyboard accordion sound too heavy for what should be a much more delicate and intimate moment. Chava’s microphone would also have benefited from a more thorough sound check for her screaming scene, in order to avoid distortion and to keep clarity in such an emotionally intense moment. 

Costumes were, for the most part, very authentic, with good attention to detail in areas such as the prayer shawls and head coverings. Footwear was inconsistent at times. Perchik’s boots looked too modern and several of the women wore character shoes where boots would have been a more suitable period choice. Motel’s wedding suit was another area that drew attention, with sleeves that were far too short. Not a good look for the village tailor! These were all relatively small points and overall the costume department did a solid job in creating the look of the period.

Props were handled very well overall, with strong attention to detail throughout. The cart, which is so central to the story, looked excellent on stage. There were many other thoughtful touches too, including an authentic menorah and a range of well-chosen props such as the washboard, metal bucket, candlesticks and Hodel’s suitcase, all of which helped the authenticity of the show. The black bouquet and falling petals used by Fruma Sarah in the dream scene were very effective and the wicker pram in the final scene for Motel and Tzeitel’s baby was a beautiful and authentic antique piece. 

The hair and make-up department did well overall. The gentlemen deserve particular praise for their authentic beards, which added great authenticity. There was also excellent work in the dream sequence. Fruma Sarah was a standout creation, dramatic and striking and very effective in helping to bring that scene to life. There were some areas that would benefit from closer attention, especially among the female cast. At times, eye make-up and lipstick colours did not fully suit the period or the setting. In an intimate venue, details like these are especially noticeable and can affect the overall authenticity of the production.

'Fiddler on the Roof' is one of the most relevant and moving works in musical theatre. Its themes of family, tradition, displacement and change still speak very powerfully in today’s world, where so many communities face uncertainty and upheaval. Youghal Musical Society’s decision to stage this show felt both timely and meaningful. What stood out most was the palpable sense of community, onstage and off. At its heart, 'Fiddler' is about people trying to hold on to each other in times of change, and that feeling of togetherness came through in many parts of this production. Above all, it was a production with real heart. Youghal Musical Society should be very proud of what they achieved, and of the community they continue to build both on and off the stage.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photos by Jack O’ Callaghan and poster design by Tara Flavin.