There are two Craig Revel Horwoods. The public version is known for his acid-tongued put-downs of celebrity hoofers on Strictly Come Dancing, while the private version is a dedicated choreographer/ director with a strong reputation in musical theatre.

Craig’s new production of Fiddler On The Roof, comes to Bradford early next year starring Paul Michael Glaser.

The show started life in Broadway in 1964, the last of the classic musicals choreographed and directed by the legendary Jerome Robbins, and went on to be one of the longest-running shows in Broadway history. Its memorable score includes Sunrise Sunset and If I Were A Rich Man.

“I love the story, I love the music and it has great lyrics – what more do you want?” says Craig. “We’ve pulled off a bit of a coup in signing Paul Michael Glaser to play Tevye. He appeared as Perchik in the film version of Fiddler in 1971. For me, it’s a story about persecution, family values, broken hearts and dreams. It’s really moving yet extremely funny. And every number is a winner.”

The cast features performers who not only sing, act and dance, but also play a range of musical instruments on stage. Craig says this approach is well-suited to Fiddler On The Roof.

“I like doing big shows in a small, intimate way,” he says. “Whereas most touring productions would have about seven musicians in the band, here we can have 20 and they make it sound magnificent. And for once, you have a real fiddler playing the Fiddler rather than an actor miming it.”

Craig says the show is a “timeless classic”.

“Fiddler gives you an insight into the Jewish religion. It’s about acceptance and understanding of a different culture, a different religion and it teaches people about faith,” he says. “Fiddler also shows people getting angry and standing up for themselves. When the Russian soldiers appear, it creates an atmosphere of aggression and mistrust and there are still such tensions in the world today.”

Tevye, the dairyman father of five daughters and the protagonist at the heart of the show, is a huge role. What did Craig think Paul Michael Glaser would bring to it?

“We were looking to change the idea of Topol because everybody remembers him in the part,” says Craig. “Paul is the right age. He’s very intellectual in his approach and he uses a bit of ‘Method’. We talked a lot about the part and how Paul should think about it.

“Tevye is the one character who breaks through the fourth wall and talks directly to the audience. As people, we say one thing and think another, but with Tevye, we get to see what’s really going on in his mind.”

As with other classic Broadway musicals, performance rights for Fiddler are only granted if the original choreography is preserved. Does Craig find it irksome to have to use other people’s ideas, limiting his own contribution?

“Of course it will be Jerome Robbins’s choreograph,y but within the envelope of a show performed by actors playing instruments. I am there to maintain the integrity of the piece, but I’m adding the same spirit and flair that Jerome brought to all of his work,” he says. “He told wonderful stories through his choreography.”

Working as director/choreographer is, Craig says, “the complete antithesis” to the “gloss and spangle” of Strictly Come Dancing.

“I go into a new show with a blank canvas. It’s a voyage of discovery,” he says.

Before directing, Craig started as a dancer in his native Australia then moved to London. “One day when I was in my mid-30s, I tried to look ahead. I felt I had a good five years left as a dancer, but did I really still want to be dancing aged 40? Eventually I went into directing,” he says.

“I’d learned a few basic rules, such as bringing someone on from Stage Left is more dramatic than from Stage Right and moving an actor downstage brings more focus than sending him upstage. I’ve taken bits from everyone I’ve worked with.

Fiddler On The Roof runs at the Alhambra from February 25 to March 1. For tickets, ring (01274) 432000.