Leave it to the Goodspeed Opera
House to take the warhorse of a show, Hello, Dolly!, and transform it into a
lively and highly enjoyable summertime production. Every aspect of the musical is right on target--the superb
casting, spirited choreography, imaginative sets, fanciful outfits and,
especially, the sumptuous Jerry Herman score.
Hello, Dolly! tells the story of a
brash yenta type character, Dolly Levi, who has been hired by the gruff, cantankerous
half-millionaire Horace Vandergeider to match him up with a suitable
bride. Dolly, though, has other
plans. Instead of the intended
young, pretty Irene Molloy, she has her own eyes set on Vandergeider. Meanwhile, as the irascible
Yonkers businessman heads to New York City to meet his prearranged wife, his
two clerks, Barnaby and Cornelius, decide the time is ripe for their own excitement
and head off to the big city for adventure and, possibly, romance. By the end of the musical cupid’s arrow
has targeted all for the proverbial happy ending.
So, where do I begin in praising
this production of Hello, Dolly!?
Let’s start with the casting.
Klea Blackhurt, as Dolly, is mischievous, boisterous, and meddlesome;
yet possess a heart of gold as she weaves her matrimonial spells. She is more Ethel Merman then
Carol Channing. Composer
Jerry Herman originally wrote the part for Merman, who turned it down, tired of
the theatrical life. It wasn’t
until the end of the show’s original seven year Broadway run that Merman
entered the role, the last of the six women to play the part. Blackhurst, who has played Ethel Merman
in an acclaimed one-woman show, has a booming voice that resonates throughout
the Goodspeed theater.
She is paired with Ashley Brown as
the lovely widow, Irene Malloy.
Brown, the original Mary Poppins on Broadway, has a beautiful soprano
that captivates the audience. Her
presence balances perfectly with Blackhurst so one doesn’t overshadow the
other. Tony Sheldon as the
overbearing Horace Vandergelder also holds his own with his formidable
co-stars. Spencer Moses, as
Cornelius, provides a delightful comic flair as he and sidekick Barnaby, played
with wholesome juvenile pluck by Jeremy Morse, search for romance and adventure
in New York City.
What separates Hello, Dolly! from
many musicals is the tuneful, highly satisfying Jerry Herman score. Every song, even the lesser-known
numbers, are a pure listening and toe-tapping delight delivered, as described
above, by a first rate group of actors.
The many gems include “It Takes a Woman,” “Put on Your Sunday Clothes,”
‘Before the Parade Passes By,” and the title number, “Hello, Dolly.”
Speaking of toe-tapping,
choreographer Kelli Barclay deserves kudos for enlivening the Goodspeed stage
with such energetic and athletic dance routines. The prolonged sequence at the Harmonia Gardens Restaurant,
with waiters bounding about, is pure precision and the highlight of the
musical. When Dolly descends the
illustrious grand staircase of the eating establishment, garbed in a fabulously
sequined gown, belting the show’s signature song, with the ensemble singing and
dancing around her, you realize what theatrical magic is all about.
Director Daniel Goldstein, working
in concert with the creative team, artfully guides the production, fully invigorating
the show with zest and inspiration.
In lesser hands this Hello, Dolly! could have been tired and
hackneyed. Goldstein, on the other
hand, has steered the show to a deserved standing ovation at the musical's finale.
The sets by Adrian Jones are
diverse and multi-faceted, adding to the grandeur and imaginativeness of the
musical. Wade Laboissonniere’s
costumes, especially for the women, are exquisite, elegantly evoking latter 19th
century New York society.
Hello, Dolly!—“You're looking
swell…you're still glowin', you're still crowin'.” Now playing at the Goodspeed Opera House through September
14th.
No comments:
Post a Comment