We’ve all got that matchmaker in the friendship group who has made (and often broken) a number of couples, introduced people to others they appear to have magicked out of nowhere like a genie and yet is happily single themselves. But when that person attempts to matchmake for themselves, how may things play out differently this time? Why not take the afternoon off and visit Yonkers for something truly unique, and to get this age-old question finally answered?
Hello Dolly! transports us back to 1890s New York and into the happy life of Dolly Levi, the happy-go-lucky widowed matchmaker who walks through life with a spring in her step. Her latest venture, seeking a wife for grain tycoon Horace Vandergelder is to be upstaged however, as Dolly herself is seeking to engineer her own marriage to Vandergelder. As he seeks to marry milliner Irene Molloy, his two shop clerks Cornelius Hackl and Barnaby Tucker sneak out of the shop in Yonkers to travel to the big city. Their fates are all intertwined as their various paths cross, and as usual it is down to Dolly to sort things out before real damage is done.
My first visit to the London Palladium gave me this whirlwind of a production that I knew nothing about prior to the rise of the curtain. A ‘classic’ musical, it definitely gives that feeling in almost every element of its production, from storyline, to period costumes and choreography of dance numbers. In terms of the story itself, it was enjoyable enough. Interest did start to wane in Act 2, particularly in the extended restaurant scene, but this was kept dynamic enough to still feel fresh, especially with multiple storylines occurring simultaneously. I enjoyed the overall story progression which managed to cover a lot of ground in a relatively short time and the extent to which our main cadre of characters are developed, giving each such a particular and unique personality. The use of comedy throughout was also exceptional, with the entire Palladium roaring together repeatedly.
I want to begin by recognising the incredible work of the stage management and front of house teams, who each had a role to play in this particular production when an emergency occurred within the auditorium during the first act. Each team worked quickly to get performers off of the stage and attend to the incident, allowing the production to begin again mere moments later. Stage management often gets omitted from my thoughts on productions as their work, whilst invaluable, occurs largely out of sight of the daily running of a show. Our thoughts go to those involved in the emergency in the night of our attendance, as well as a distinct recognition to the stage management and front of house teams for their quick work and exceptional actions in allowing the production on this night, and on all nights, to allow thespian creativity to be expressed to audiences across the country.
And now back to the production itself. Beginning with the set, I was very impressed as to what was achieved here. There are a range of difficult locations to master and transition between quickly, and each is done seamlessly and effectively. Whether it’s the use of backdrops and furniture or the moving walkways, dining booths or even a steam train carrying the cast from one side of the stage to the other, the set design and execution is impeccable. The way each piece blends together so well in every single scene without missing a beat is a testament to the skill and talent of the designers to bring such an immersive and captivating vision to life.
The next department I need to rave about is the costume department, who’s work was ingenious. Every piece of every costume was nothing less than stunning. The use of colour in Dolly Levi’s piece contrasted with the mute tones of the majority of the rest of the cast in Act 1, which was eye-catching and helped to signify her importance from her first entrance to the second she left. I also fell in love with her green number for the restaurant scenes, which was equally as stunning, and is a piece which I personally would like to acquire for myself! The period costumes were executed well, each providing a unique flair to their characters and were brilliantly versatile and allowed each cast member to express their role even whilst not speaking. The elaborate hats to the ensemble of waitstaff, every costume in every scene was stunning.
The least impressive department for me was in lighting design, not because of bad design or practice, but simply just not anything I found particularly exceptional. The lighting was good throughout, and I think due to the settings of the musical (largely taking place outside and in areas of natural light) it was difficult for much else to be done with lighting. The states used were executed well, I would have liked to see more done, potentially during the dance numbers in the later restaurant scene which may have helped to make this drawn-out sequence more entertaining, but what was done was created in a satisfactory manner.
In terms of sound design, this was exceptional. My position in the auditorium allowed me to see down into the orchestra pit and their work here was fantastic. The power of the sound produced chilled me to the bone, echoed throughout the Palladium and was instrumental (no pun intended) in immersing you in 1890s New York. The use of sound was achieved wonderfully and was crucially on point for the moments I have been most looking forward to discussing, when the orchestra was paired with our leading lady.
Dolly Levi is the focal point of this entire story was played by legend of stage and screen Imelda Staunton. I’ve seen Imelda do a range of roles from Dolores Umbridge to Queen Elizabeth II in The Crown but I realised going in that for leading a musical, I’d never heard Staunton sing before. What was I to expect? Five minutes into the show I had my answer. And I was nothing short of speechless. Imelda Staunton can’t just sing, she brought the house down. I’ve never heard a voice quite like hers and I’ve also never heard an audience go so wild over a performer so quickly. I don’t think I’ve heard a voice as good as hers in all the musicals I have ever seen and the fact that this was my first time hearing her sing feels like a dereliction of duty! I have no idea why Staunton hasn’t done more singing roles but I need her to keep doing them because her voice is exceptional.
She is also a hugely talented actress, playing Dolly Levi so well that you’d think the role was written specifically for her. Every comedic line, joke, inflection and crucially for Dolly Levi, rebuttal was timed to perfection and the way Staunton had the audience on every movement she made is a testament to everything she has achieved in this role and her wider career. This musical is worth seeing even just for seeing her performance and I want to see her do so many more roles in the West End in future!
My other stand-out performances come from Harry Hepple as Cornelius Hackl and Tyrone Huntley as Barnaby Tucker. Vandergelder’s two shop clerks, the duo are so much fun to watch. Their antics, their chaotic natures and the way they interact with each other, their hastily arranged dates and particularly Dolly Levi is comedic genius. They’re worth every second they have on stage and the clear relationship between the two as characters and fellow cast members is fantastic. It allows them to work together almost as if they’re brothers, which comes across loud and clear. Fantastic cast members coming together to create a great production.
Hello Dolly! is a fun, exciting and powerful example of a classical musical executed brilliantly. A fun adventure with so much to say, a lovable main character and talent bursting at the seams, it’s a show that is bound to leave you in stitches, tears and with a huge smile on your face. Imelda Staunton’s abilities know no bounds, and to miss it would be huge shame. Catch it before it closes at the end of the summer and trust my word on this one – “just leave everything to me!”.
Rating: ★★★★☆
Hello Dolly! is playing at the London Palladium until September 14th
