Hello, Dolly.

 “Hello, Dolly” opened in the West End in 1965. It immediately became a firm favourite of audiences. For a time it held the record for the longest running musical in London. That it emanated from a failed play by Thornton Wilder is a well-known fact. I suspect many of those present in the audience at The Empire Theatre had already seen either a live production or the film starring Barbara Streisand so will have been no stranger to the plot or to at least to the show stopping main number “Hello, Dolly”. Expectations as to what we expect to see are therefore extremely high.

The role of Dolly Levi, the matchmaker come jack of all trades, is one of the most coveted in musical theatre, offering an actor the chance to pull out all the stops and fully demonstrate her range of abilities.

From the moment Sue Chadwick appeared from upstage centre we knew we were in for a treat. I have seen several productions of this musical (and played Ambrose Kemper back in 1980). I can truthfully say I have yet to see a finer interpretation than the one I witnessed on Thursday night.

Sue Chadwick was the epitome of charm, wit and grace. She brought a knowing edge to the role which other players sometimes overlook. Dolly knows what she wants to achieve and how she is going to go about it. Sue’s interactions with her much loved late husband were touching in their sincerity. Dolly is such a strong character, yet she needs the assurance that she has his approval before proceeding. Sue’s dancing, (what a tapper), was impressive. The poses she struck were magnificent and her singing was powerful and well-modulated.

In short, Sue’s performance was a master class in how to get the most from this iconic role. Carol Channing would have been proud. There I have said it!

Congratulations to Tony Fry and Gary Worthy for their unstinting dedication to making this such an enjoyable production.

Kris Wlodarczyk as Vandergelder drew us close to the essence of his character. He was annoyed, frustrated and bamboozled. Kris played each of these differing emotions with aplomb. He has a fine voice particularly suited to the role. His character is destined to always play second fiddle to Dolly so part of the challenge for the actor is to get the audience on his side. Kris did so. We almost felt sorry for him at the end. Did Vandergelder really appreciate what he was taking on by marrying Dolly?

One of my all-time favourite musical theatre numbers must be “Ribbons Down My Back”. In the hands of Laura Mitchell it oozed all the pathos and yearning that the song demands. If I had the chance to put her performance on a permanent loop I would do so. Laura’s stage pedigree was utilised to the full.

At this point I must say that one of the great strengths of this show was the obvious enjoyment that every single member of the cast demonstrated. Enthusiasm, confidence and sheer determination to get it right reach beyond the footlights rubbing off on the audience.

Cornelius and Barnaby, Ryan Coe and Fletcher Illingworth, are two partners in crime. Naïve and trusting they are the perfect foils to Dolly’s intrigues. Both actors made us smile and laugh. They moved confidently around the stage producing well thought out comic moments.

All the supporting characters were successfully drawn. It is always a pleasure to see Brenda Murray on stage. I must give a special mention to Natalie Walton as Minnie Fay. She was bright and flirty instilling a confident panache.

The ensemble was well drilled. It is a real thrill to see such a large company coming together to create something so inspiring.

And oh, how I admired the waiters gallop. You were outstanding, gentlemen. Full marks to choreographer Katie Fry for putting you through your paces so well. Indeed, all the dance pieces throughout the show were fresh exciting and irresistible.

The costumes were excellent. Dolly’s dresses were certainly on a par with Danny La Rue’s campest creations.

Congratulations too to the pit band under the masterly direction of Chris Andrews.

One of the main responsibilities of a NODA reviewer is to judge whether the audience of shows enjoy what they see. In other words, do shows offer value for money. Did the audience enjoy this show? Yes, yes, yes (ad infinitum).

There is, and will continue to be, debate about whether amateurs can be compared at times to professionals. It is perhaps a silly comparison to make. However, let me conclude by saying this. I attended a performance on Tuesday of the much-acclaimed Manchester Royal Exchange Theatre’s production of “West Side Story”. Which one would I pay good money to see again? Well I will leave you guessing but the name of the show may just begin with an “H.”

Thanks for looking after me so well, Maureen and Peter.

I eagerly look forward to your next production.

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