“You’re lookin’ swell, Dolly! We can tell, Dolly! You’re still glowin’, you’re still crowin’, you’re still goin’ strong!” Never has art imitated life so perfectly as when those famous words are sung in Goodspeed‘s current production of Hello, Dolly! To accurately describe my love for this production… well, words fail me.
Alright, I guess words aren’t allowed to fail me at this moment, since this is a blog and all. So, where do I begin?
Let’s start with the cast. Klea Blackhurst steers the ship like only the greatest lovingly-manipulative Dolly Levi could. From the start, she’s a perfect mix of brass, sass and just a hint of eloquence. Still, she’s not afraid to stop the show for a good ten minutes, just to allow the audience to gape (and laugh uproariously) as she scarfs down a colossal dinner. Her comedic timing is spot on.
Also spot on is the perfect Horace for Blackhurst’s Dolly- Tony Sheldon. Sheldon, best known for his Tony-nominated performance as Bernadette in Priscilla, Queen of the Desert, might be one of the most versatile actors working in the theater today. He’s the first guy, I think, to really “get” Horace Vandergelder: He’s not just a curmudgeon, but a lonely man who puts up a freezing cold artifice. Sheldon plays this honestly, yet comically, and you can’t help but be touched when you see this coldness melt away in the courtroom scene. Horace just wants to be loved as much as the next guy.
The rest of the company is equally apt Ashley Brown, Broadway’s original Mary Poppins, is an earnest Mrs. Molloy with a sweetness that makes “Ribbons Down My Back” a completely mesmerizing number. Minnie Fay, played by Catherine Blades, is charmingly nervous, and the perfect match for the energetic and eager, yet equally nervous, Barnaby Tucker, courtesy of Jeremy Morse. Spencer Moses’ portrayal of Cornelius Hackl is succinct and direct, which lends itself well to Cornelius’ late Act Two monologue and ballad, “It Only Takes a Moment.”
But, at the end of the day, the biggest star of the evening is not a performer on stage. Rather, it’s the brilliant package of the whole event. The production is so fresh, you would think Hello, Dolly! is a new musical. Michael Stewart‘s book moves at a break-neck pace, with stunning and inventive choreography by Kelli Barclay and focused, economical direction by Daniel Goldstein. The perfect set by Adrian W. Jones is consistently surprising and smart, and the costumes and lighting by Wade Laboissoniere and Jason Lyons, respectively, turn the show into a vibrant and colorful evening. Finally, the Goodspeed’s signature tradition of re-orchestrating the shows shines brightly here. Never has an 8-piece pit sounded so full and bombastic. Herman’s score is served well, and that’s an understatement.
Look. I could gush about this production for days. Truth is, I have been! It was one of those truly transcendent theatrical experiences- where everything just “worked.” Even the setting of the Goodspeed feels right. Overall, this was good theater at its best. Simple? Yes. Predictable? Yes. But, it’s deliriously enjoyable, and who doesn’t love a giant helping of nostalgia?
I can’t recommend the show enough. Go to any lengths to see it. Can’t afford it? Rob a bank. No transportation to get there? Ride a bike. No tickets available? Tackle the nice elderly woman in front of you and take her ticket. I’m telling you, it’s worth it.
Okay… Maybe, I’ve become a tad bit hyperbolic. Must be Dolly Levi, rubbing off on me.
Photo via Richard Skipper Celebrates