HELLO DOLLY

Ever since the loveable, meddling matchmaker took Broadway by storm in 1964, Jerry Herman’s “Hello Dolly” has been on stage somewhere in the world! Herman’s well known works include Mame, Mack & Mabel and La Cage aux Folles, and the recent New York revival of Hello Dolly featuring Bette Midler has sparked new interest in the show. PMS have benefitted from this interest and, together with audience recommendations, had a wonderful run of full houses.

The beautiful set, visible as we entered the auditorium, was an instant feast for the eyes. The orchestra was situated behind arches and balustrades on an upper level – not hidden but unobtrusive. A catwalk in front of them connected the top of two staircases which had double louvred doors at centre stage and cupboard doors on the outer sides. Trapdoors for use in Vandergelder’s Hay & Feed Store were cleverly made up the return landing of the stairs and everything was painted white with appropriate shading detail, which changed with lighting – I particularly liked the soft pink shade. Signs hung on the catwalk balustrades announced the location of scenes (except, surprisingly, the Harmonia Gardens). An extra red set of stairs was inserted between the others to create a wide staircase for Dolly’s triumphal entry to the Harmonia Gardens Restaurant. Props were suitable and quite minimal. The Hay & Feed Store had a nice old-fashioned cash register on the counter and the Hat Shop had hat boxes, some display hats and a small dressed window.  I would like to have seen more places to hide in the shop for the Motherhood March – swopping places in 2 cupboards and a table did not create the rib-aching laughter I have experienced on other occasions. The translucent curtains of the private boxes in the Harmonia Gardens were a bit distracting when other action was taking place. Sound was generally good; Lighting did not always hit the spot and cueing was sometimes a little late. Some ‘smoke’ billowing from the trapdoor when the cans exploded would have been impactful. Costumes were colourful and authentic although much more could have been made of the 14th street parade. Ladies hairstyles and wigs suited the period; I know it is difficult to have all the men with authentic haircuts!

Dolly Levi is a strong role for a female lead. Rarely off the stage and singing in an impossibly high register, Elaine Macauley                                                                                                                                                                                                                                   was an impressive leading lady. Assured and attractive, she captured the essence of her character with elegance, gentle gravitas (when communing with her deceased husband) and in comedic timing (eg. continuing with her meal as the court case waited). Her rapport with Alan Morton as Horace Vandergelder was excellent. Alan’s interpretation was well conceived (inspired by several visits to the New York production earlier in the year, no doubt!) He added an extra dimension to the gruff and authoritative ‘half-a-millionaire’ – often teasing extra comedy out of his pomposity. His two employees, Cornelius Hackl (Richard Campbell) and Barnaby Tucker (Oliver Keys), played their roles with energy and enthusiasm. Barnaby’s costume was of a typical country boy and Oliver conveyed his naivety well. Unfortunately, Cornelius’ could have come from any period, encouraging Richard to forget himself and put his hands in his trouser pockets in the courtroom scene - oh dear! He did, however, sing “It only takes a moment” very nicely. Irene Molloy and Minnie Fay were charmingly played by Una Culkin and Donelle Reynolds. Una sang “Ribbons down my back” beautifully as she longed for romance and adventure, while Donelle’s quirky energy brought engaging freshness to her character. I don’t know what happened at the beginning of Act 2; it was a pity that “Elegance” started badly as it should be a great act opener. However, they picked themselves up and carried on in spite of very little space in front of the tabs.

David McDowell took the rather weedy role of Ambrose Kemper in suitable fashion, coping well with the incessant wailing of Clare Campbell as Ermengarde! Sandra McElhinney made her mark as Ernestina Money, both looking and sounding as outrageous as she should! Harry Stinson sustained the qualities of the Harmonia Gardens Maitre d’ while Brenda Tosh (Mrs Rose) and Peter Olpert (Judge) fulfilled their smaller roles convincingly. It was good to see all ages – new and experienced – taking part in the Ensemble with enthusiasm. The chorus libretto is written in many parts and I noticed that the top line was not attempted in “When the parade passes by”. I don’t blame them – it’s a killer! In spite of an imbalance of male/female voices the overall vocal effect was mostly very good. Using dancing girls as waiters in the Gallop is a sensible exchange, leaving the red tail-coated men to sing and dance the more sedate “Dolly” number.

Kerry directed a most attractive and well-paced show. Props were set and struck very speedily – it was just a pity that the crew often came on to a fully lit and empty stage. It might have sometimes been possible to change the props behind a crowded stage? Rosemary O’Connor kept her choreography quite simple – perhaps to suit all abilities. I felt that she missed some choreographic opportunities, particularly in the waiters’ gallop. Andrew Robinson gave an accomplished lead to his 13 piece orchestra and they balanced well with both soloists and chorus on stage.

It was so lovely to be back at one of the “greats” of musical theatre. Since taking part in Hello Dolly in 1980 and 1994 I have only seen it performed a couple of times on the amateur stage and it was a privilege to see PMS perform to such an appreciative audience. My congratulations and thanks to all concerned.

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