Hello, Dolly!

“Hello, Dolly!” was given the full West End revival treatment at the London Palladium last year, with Imelda Staunton in the title role, and lavish sets and costumes.  Abingdon Operatic Society’s presentation illustrated that this musical’s enduring popularity doesn’t in fact depend on big names or extravagant production, but on the strength of the characterisation and the immediacy of the story-telling.  There was plenty of imagination and creativity in this staging, and while this Dolly does not enjoy Imelda Staunton’s reputation, at least not yet, she has genuine star quality and led this talented company with distinction in an accomplished and enjoyable show.

The company singing was strong and secure with a good balance between the parts despite the significant imbalance in the number of male and female voices.  The Musical Director had clearly worked hard to ensure that the melodies and harmonies were secure, that the rhythms and note-lengths were consistent and accurate, and that the lyrics came across clearly.  A particularly noteworthy example was “Put On Your Sunday Clothes” in which the sopranos coped admirably as the melody was cranked up to the very top of their vocal range.

There was some good characterisation within the company, particularly in the little vignettes scattered through the show, but these were never allowed to become distracting.  The customers in the Harmonia Gardens gave that scene excellent energy and atmosphere, and it was a pity that most of them left at one point as they took a lot of the atmosphere with them.  The exchange between Dolly and Horace as they eat their dinner was well done; it can be hard to talk with your mouth full, but the actors had evidently rehearsed this scene carefully.

The Choreographer had a typically mixed-ability company to work with, and the dancing and stage movement was most effective in the more classic contexts, such as the Polka dance competition or the street parade (which also featured some eye-catching baton-twirling).  The waiters in the Harmonia Gardens were well drilled; the gallop featured some splendid components such as the revolving kick line, but might perhaps have built to an even bigger crescendo.  I was particularly impressed by how details in the orchestration were picked up very effectively in the choreography.  There was some imaginative movement in the production numbers, such as the use of parasols to reinforce the concept of travelling in “Put On Your Sunday Clothes”.

The almost farcical routines in the hat shop to the “Motherhood March” were particularly well realised, and the fast-moving nature of this scene, with one near-calamity moving seamlessly into the next, is key to its effectiveness.  Such an energetic pace proved harder to maintain in other scenes, but sharper cues, quicker entrances and exits, and a touch more urgency in one or two of the musical numbers were probably all that was needed to address this.  Such modest tweaks might just have cranked up the energy, and elevated an already impressive and entertaining show to the next level.

The London Palladium can keep its technical wizardry; in this production, Abingdon Operatic Society demonstrated that with creativity and imagination, a strong and committed company and some outstanding principals, it is still possible for a talented amateur company to stage a production which in its own way is just as engaging and enjoyable as a big budget presentation.

 

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.