Everybody's favourite Jewish-themed musical, Fiddler on the Roof hits town this week (until tomorrow). And with it starring seasoned TV and theatre actor Joe McGann as the world-weary, aphorism-spurting father of five Teyve, it's a definite highlight of the theatrical month.

Set at an unspecified time before the 1905 Russian revolution, the show focuses on the Jewish community of the small village Anatevka in the fatherland. Here, local dairyman Teyve is scraping by, working a hand-to-mouth existence to put food on the table, and trying even harder to be a good father to his progeny. A series of young men come and go through his daughters' lives, and battling with tradition, sentimentality and his conscience, he has to make some tough decisions concerning the welfare of his offspring.

The piece features such musical favourites as If I Were A Rich Man and Match Maker among others. The skilful writing of the show allows a whole host of themes to be discussed in between the showstoppers. Aside from being about what it is to be a father, it ruminates on sacrifice and adaptation. Things are changing in Russia; new technology and new customs force everybody to reconsider their beliefs and traditions.

Joe McGann provides an alternative reading to the central character, and is a refreshing change from Topol's famous interpretation in the 1970 film adaptation of the show. McGann underplays the role effectively, swapping charisma for empathy and charm. Although not a naturally gifted singer, he manages to hold his own for most of the numbers. A cast, who are unanimously of fine voice, support him more than efficiently. Of special note is Tommy Sherlock who plays Motel, the tailor. Although his voice is arguably the weakest of the cast, he gives by far the strongest performance of the night. With immense physicality, grace and humour he brings the neuroses of the character to life.

The production is sound; effective lighting and simple scenery neither overcomplicate nor oversimplify. There are some neat directorial flourishes; of particular note is the dream sequence mid-way through, featuring a fair number of the cast, which uses its props and lighting excellently, creating something economically frightening out of almost frighteningly economic materials.

Bright, breezy and eventually quite moving, this version of Fiddler provides an incredibly satisfying three hours of theatre. Good acting, fine dancing, hummable tunes and some meaty thematic content, this production has it all.