Interview: Troy Sussman On Playing Tevye in Australia's FIDDLER ON THE ROOF

After selling out in London twice and breaking the record for the best-selling musical of all time at the Barbican Theatre, Jordan Fein's three-time Olivier Award-winning production of FIDDLER ON THE ROOF earned rave reviews in Sydney and heads to Brisbane's Glasshouse Theatre at QPAC from 9 October. Told through a contemporary lens, the production will then tour to Her Majesty's Theatre in Melbourne from 31 October and His Majesty's Theatre in Perth from 7 January 2027.

Leading the company as Tevye is Troy Sussman, an Australian and West End performer whose extensive credits include SUNSET BOULEVARD, BACK TO THE FUTURE, the original Australian production of THE PHANTOM OF THE OPERA, and LES MISÉRABLES in Australia and the West End. He is joined by Sigrid Thornton as Yente, John Waters as Lazar Wolf, and Alexis Fishman as Golde, with Freya Boltman, Ellen Ebbs, and Caity Plummer as Tevye's daughters and violinist Ben Adler as the Fiddler.

BroadwayWorld spoke with Sussman about his grandfather's emigration story, finding his own Tevye in the shadow of legends, and the contemporary perspective that makes this production feel like a story of today.

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What was it about this particular production, directed by Jordan Fein, that convinced you it was the right time to finally take on the role of Tevye?

What excited me about this opportunity to play Tevye in this production was both my feeling of readiness, and Jordan's success in the UK. It takes all my learnings across my career to deliver this epic role, one of the hardest in the musical theatre canon. When Jordan and I met, we connected over what this show is and who Tevye is, and it's a marathon and an honour to bring his vision to life night after night. I also love that, although we see the story through Tevye's eyes, there is a much bigger focus on the community and the relationships. It feels more like we are doing a play with great songs.

You've mentioned your grandfather's own emigration story from Poland. How did that personal history inform your approach to Tevye's journey throughout the show?

There is a weight when telling the story of your people. Historically, members of my family would have suffered pogroms and dealt with similar situations. When my Zeida (grandfather) came to Australia, he was a tailor, he worked to bring others over, and started a synagogue and lived within a community. I often feel as if I am walking in the shoes of my ancestors and that responsibility is a great one. Sholem Aleichem's stories were real and of a time. My connection helps bring an authenticity to the storytelling.

Following in the footsteps of legendary performers like Topol and Mostel, how did you find your own version of Tevye rather than imitating those who came before you?

It's true so many greats have left their mark on this role, both here in Australia and globally. Firstly, I never wanted to ape Topol as many have done, as I think this is inauthentic, and given this production is a very different take than normal, it freed me up to find the Tevye within me, utilising my own experiences, feelings, emotions and heart. One of the big changes is we speak in our normal accents, so no faux Jewish sort of Eastern European accents. I think this adds to helping me connect as a human, and the audience to see Tevye as the Everyman: good, and flawed, loving, conflicted. For me too it is an honour to be the first Australian Jewish man to play Tevye professionally in this country.

Jordan Fein has spoken about putting a contemporary lens on this classic. Can you describe some specific moments where that modern perspective really shines through?

I think this shines through with the agency given to the female roles. Alexis as Golde is wonderful and we see the strong woman who holds the family together, the decisions of the daughters and their choices, each different but strong women. It's not just Tevye deciding. I think both Jordan's direction and Tom's design cut away the faff and noise and magnify the essence of the piece and the conversations within. It flows quicker than most productions I've seen and gets to the core. Community, family, love and change. It feels like a story of today, not 1905.

As a father yourself, how did drawing on your own relationship with your daughter shape the way you play Tevye's conversations with his daughters?

My daughter is only almost six, but being a girl dad definitely helped me connect with the daughters in the show. Apart from them all being wonderful performers, they are each individuals and I have built a different relationship with each. It is funny, they all call me Papa backstage. I do, however, now have a look into my future conversations with my own daughter in a few years or so. I love being a girl dad, it's one of the best things I've ever done, it makes me a better person, and a better actor.

What has the experience been like sharing the stage with Sigrid Thornton and John Waters, both such significant figures in Australian screen and theatre?

It's a joy to work with such legends, they are both so generous and warm and of course talented. Throughout my career I have been lucky to work with phenomenal people and Sigrid and John are the best. Sadly I don't get much time on stage with Sigrid, but John and I share a few moments and scenes and to share the stage with him is wondrous. We must celebrate our legends.

Given how personal this role is for you, what has surprised you most about your own performance or interpretation as the season has progressed?

I think like any role and performance, the further you progress, the more you get to explore and find. It's a huge role and hill to climb every show, with emotional highs and lows and deep feelings. I think I surprised myself with my ability to stay connected to the text and the people. I've worked very hard over the years to be a working actor doing many and varied roles and shows, and the opportunities to lead a company are few in Australia, but this one really calls on all my skills and asks me to be everything I always dreamed and worked for at my core. I really do believe that all I have done and achieved prepared me to be here today, where I need to be, telling this story at this time.

For audiences who may only know FIDDLER ON THE ROOF through its famous songs, what do you hope they take away from seeing the full story unfold in this new production?

I hope audiences enjoy the classic songs and dances they know, and a familiarity with these characters and this community. But also really hear the story and are touched by a man and his family, their trials and tribulations. That they breathe in a world that isn't so far from today, and as they leave the theatre, it gives them pause to think and have conversations and, as Tevye is wont to do, ask questions.

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