THIS area has a proud record in mounting that very difficult of musicals, Fiddler on the Roof. I well recall the excellent WYSPAS Swan production in 2005; before that Panda’s fine Elgiva showing, to say nothing of Beaconsfield Operatic Society’s own production of 1996.

So it is a pleasure to state, and categorically, that this 2nd night performance by Beaconsfield at the Curzon Centre was up to the mark and comparable to its various predecessors. Its production standards (Tim Pemberton) were sensible, sound and well thought through without being extravagant. The 10 strong orchestra (conductor Ricardo Gonzales) was on top form.

And make no mistake about it, Fiddler on the Roof, is full of pitfalls. If done badly it becomes a piece of over-long American sentimental slush. Done well it is a moving experience about an established community of Jews whom the state authorities in Tsarist Russia decide to drive out of the country. But there is far more to it than that.

Sheldon Harnick‘s lyrics together with after Joseph Stein’s book brilliantly captures many aspects of Jewish humour, and illustrates - though with affection - some of the eccentric, idiosyncratic aspects of the Jewish character as well as its strong points.

And so Fiddler covers the questions of traditional Jewish standards and approaches when faced with marriages to gentiles; the hints of pending revolution; the underlying anti-Semitism in Russia; and the changing attitudes of the young.

And all this (and more) is wrapped up in a score by Jerry Bock that includes about three or four of the best-loved melodies in the whole range of musicals.

This requires a large cast and chorus who can both act and sing, and in general Beaconsfield provided them. Particular mention should go to Stephanie Pemberton (Golde), Jan Edwards, Lisa McAdam and Fredi Bowkett (the elder daughters), Sue Dorman (matchmaker), Matthew Kent and Andy Sonden (suitors) and several others.

However the show centres round the pivotal role of the father, Trevye, and I feel this role was Kevin Vaughan-Smith’s finest hour (to date) with this Society. His ability to demonstrate the man’s humour, fury, practicality, humanity and occasional absurdity was well up to professional standards. And what is more - he could sing well too.

Performances continue until April 2 at 7.45pm at the Curzon Centre in Beaconsfield. Call 01494813518 for box office enquiries. Tickets are £15. Go to www.bosopera.com.