Hello, Dolly!
In what is one of the most anticipated shows of the year, Hello, Dolly! has finally returned to London’s West End. Originally planned to be staged in 2020 (but we all know how that turned out!), The London Palladium is the home for the strictly limited summer season of this nostalgic musical.
Hello, Dolly! written by Jerry Herman, originally debuted in Detroit with Carol Channing in the titular role. The Broadway transfer won 10 Tony Awards and the role of Dolly Levi became synonymous with Channing. West End transfers and a film followed with stars such as Danny La Rue and Barbara Streisand praised for their take on the iconic role. The musical has stood the test of time and with London audiences eager to see the material for the time since 2009, how would the latest revival fare?
Widowed Dolly Levi makes a living in New York matchmaking or as she likes to put it ‘meddling.’ Looking for a ‘sign’ from her deceased husband, she is looking for a wife for ‘half a millionaire’ Horace Vandergelder, yet it’s soon made clear that the only woman she wants him to marry is her. With the casting of Dolly Levi inevitably being compared to predecessors such as Channing and Streisand, Imelda Staunton raises the roof with her interpretation of the beloved New Yorker.
Whilst Staunton is well known as a star of the screen for shows such as The Crown or Harry Potter, she is nothing short of a theatrical icon and this role does nothing to deter from that title. Staunton embodies the theatricality of the role, leaning into the more comedic side of the character whilst also giving us light and shade in the vocal numbers, particularly ‘Hello, Dolly!’ with the big finish eliciting a rapturous response from the audience. Tender moments of dialogue felt as if she was speaking just to you, yet somehow lacked a genuine emotional connection throughout perhaps due to the comedic narrative rather than a romantic one. However, her stage presence alone is worth the price of a ticket, a true masterclass in how to hold the audience in the palm of your hand with each line spoken or sang.
Michael Stewart’s book has long been known as a little thin on the ground, but this production draws everything it can out of it. The London Palladium’s stage is huge and it needs a number of things to work in unison in order to get the precision of a show right which this production generally manages to do. Throughout the performance you can’t help but be swept up in the magic of the piece largely due to Dominic Cooke’s direction. Incredible big choreographed numbers (Bill Deamer) like ‘The Waiter’s Gallop’ allow the ensemble to be at their best, just proving how much rehearsal has gone into the piece with precise movement in each number. These ‘big’ numbers are just that with several show stopping moments leaving audiences in a gaze. A special mention has to go to Edwin Ray in the ensemble cast whose smile shone throughout and genuinely looked like he was having the time of his life.
Set design (Rae Smith) is impressive for the most part and given the scale of the stage needs appropriate props to enhance the piece. Audible gasps are heard when a locomotive steam train makes its way across The Palladium stage and when transported to the lavish ‘Harmonia Gardens’ restaurant with a grand staircase that wouldn’t look out of place in the world of stage and screen. Some scenes did appear a little sparse with the video projection on the back wall and the overuse of a treadmill to evoke the characters moving through the streets of New York doing nothing to help this.
Whilst it might be Staunton’s name in lights above the theatre, the supporting cast match the performance of the titular star with some standout performances, particularly Jenna Russell as Irene Malloy, as it seems that any role she puts her hands to she strikes gold, impressing with the light-hearted fun number ‘Ribbons Down My Back.’ Tyrone Huntley as Barnaby Tucker plays the innocent, sweet seventeen year old with charm and wit whilst Emily Lane uses every moment to stand out as much as she can with a yet minor role that makes her a major player as Minnie Fay.
Whilst the piece is obviously set many decades ago it doesn’t feel like it’s lost any of its sparkle and allure. Staunton is no doubt going to steal the headlines for this incredible performance but the well rounded cast certainly deserve their praise also. A timeless nostalgic musical, a glorious twenty one piece orchestra and Imelda Staunton! It’s hard not to have a smile on your face throughout. The grandeur of The London Palladium and the classic that is Hello, Dolly! are the perfect match for this year’s summer spectacle.
This show was reviewed on the 18th July 2024 at the London Palladium where the show runs until the 14th September 2024. Tickets available here: Ticketing Information (hellodollyldn.com)
Review written by Jordan Potts
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Photo credit: Manual Harlan
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