Hello Dolly

Hello Dolly

Pickering Musical Theatre

Director Luke Arnold, Musical Director Clive Wass and Choreographer Rebecca Neacsu

Kirk Theatre

11th June 2025

 

Well Hello Dolly! Pickering Musical Society took to the stage for what is sadly their final spring musical—but they went out with an absolute bang! “Hello Dolly” at the Kirk Theatre was a dazzling, heartfelt tribute to the golden age of musical theatre, and a true showcase of local talent and professional-level production values.

Director Luke Arnold clearly worked above and beyond to create a visually stunning performance, and it showed in every detail. From the moment you stepped into the Kirk Theatre—a charming, intimate venue—you were met with a bold and beautiful projection of “Hello Dolly” across the curtain, instantly setting the tone for a bright and joyful evening. For an opening night mid-week, the audience turnout was exceptional, with very few empty seats, and rightly so.

The show took me straight back to childhood memories of watching classic musicals with family. The warmth of the venue and the production’s old-school charm perfectly recreated that magical feeling. The set and staging were a triumph. The clever use of projected backdrops provided smooth transitions between scenes, while a variety of folding set pieces and movable staging created depth and variety. Special praise must go to the Harmonia Gardens set, complete with a stunning staircase and charming side booths that enhanced the space without ever crowding the stage.

The Harmonia Gardens sequence was, for me, the standout moment of the show. Every element—set, choreography, cast movement, and music—came together in a masterclass of timing and theatrical precision. It was a feast for the eyes and ears, and a real highlight of the evening. Musical director Clive Wass once again masterfully led both cast and live band, delivering an auditory delight from start to finish. The Sarah Louise Ashworth dancers were as captivating as ever, with the young performers holding themselves to a truly professional standard. The chorus, though smaller in number, delivered a powerful and energetic performance, clearly giving everything they had. By the final curtain, the joy and pride radiating from each cast member was palpable.

Daphne Kirk brought flair and flamboyance as Ernestina, while John Brooks gave a grounded and memorable performance as Rudolph. Courtney Brown and Will Smithson as Ermengarde and Ambrose were a perfectly balanced pair, full of character and chemistry. Dannielle Long’s Minnie Fay brought just the right amount of girlish glee, a brilliant foil to Paula Cook’s composed and elegant Irene Molloy. Stephen Temple was charming and expressive as Cornelius, bringing warmth and likeability to the role, while Jack Dobson truly came into his own as Barnaby Tucker, playing beautifully alongside Temple.

Tim Tubbs as Horace Vandergelder was an absolute triumph, delivering a performance full of gruff charm, impeccable timing, and depth. He struck the perfect balance between comedy and sincerity, portraying Horace as both a stubborn traditionalist and a man slowly, and hilariously, softened by the chaos around him. His interactions with Rachel Anderson’s Dolly were sharply delivered, with each scene crackling with energy and wit.  

And finally, the lady of the hour: Rachel Anderson as Dolly Levi. Wow. If there were ever a role made for someone, this was it. Her articulation, comic timing, musicality, and stage presence were nothing short of phenomenal. She owned every moment she was on stage and left the audience in awe. As we exited the theatre, I overheard so many audience members singing her praises—it was well deserved. Rachel’s stage presence oozed charm and power and eyes were drawn to her with every subtle movement she did.

This production was a true testament to the hard work, creativity, and dedication of everyone involved. The sheer number of people queuing to congratulate director Luke Arnold afterwards was a clear reflection of the impact this show had. It’s deeply saddening to think that this marks the end of spring musicals for Pickering Musical Society, but what a spectacular note to end on. If you haven't already, I urge you—buy a ticket, support this wonderful group, and give their final spring production the grand send-off it so truly deserves.

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