Broadway in Chicago presents HELLO, DOLLY Review

Broadway in Chicago presents Hello, Dolly:

With book by Michael Stewart and music and lyrics by Jerry Herman, Hello, Dolly takes place at the turn of the 20^th century, and follows Dolly Gallagher Levi (Betty Buckley, with a stunning vibrato), a self-proclaimed matchmaker who cannot help but meddle in the affairs of others. She sets out on a trip to Yonkers to help Ambrose Kemper (Garett Hawe) and Ermengarde (Morgan Kirner) convince the half-a-millionaire Horace Vandergelder (Lewis J. Staldin, with good humor), Ermengrade’s uncle, that they should get married. However, as with any classic musical about love, nothing is ever simple.

Horace is slated to marry Irene Molloy (Analisa Leaming, with spot-on comedic timing), but Dolly, after assisting in that matchmaking, wants to marry him herself. When he travels to New York to decide if Irene is the woman for him, Dolly follows, as do his employees Cornelius Hackl (Nic Rouleau, with stellar vocals and stage presence) and Barnaby Tucker (Jess LeProtto, a fantastic dancer and physical actor), who are hungry for a night in the city and to find their much-dreamed about “first kisses.” Affairs become complicated, love triangles ensue, and Dolly is left to sort out everything in a neat bow.

The musical is sweet and amusing, and director Jerry Zak’s production certainly rises to the occasion if the constant applause and cheering from the Press Opening audience is any indication.

Gorgeous Design

Jerry Zaks’ artistic team embraces the fun nature of the piece through ample amounts of color, creating an aesthetically striking stage – particularly in Scenic and Costume Designer Santo Loquasto’s creations. In Put on Your Sunday Clothes the set transitions from Horace’s store in Yonkers to the backdrop of the city that never sleeps, the ensemble enters the stage in pairs, dressed in pastel gowns and suits. Vibrant shades of blue, pink, green, and yellow enter the stage, creating a stunning image that brings to life the fantasy of this magical city.

The set for Hello, Dolly! performed by Rudolph (Wally Dunn) and the waiters and cooks at the Harmonia Gardens, the fanciest restaurant in town, has two booths behind curtains that allow for characters to slip in and out of notice – adding to the at times farcical nature of the piece. Rudolph and his employees have just learned that Dolly has entered the building, and then she arrives at the top of the striking red staircase decked out in a red sparkling gown with a feather hat. Buckly wows the audience with her powerhouse belt, and Loquasto’s gown pushes the pizzazz scene over the top.

Show Stopping Numbers

In this writer’s view, Carlyle’s dance breaks are phenomenal - particularly in Dancing and The Waiters’ Gallop. In Dancing, Dolly teaches Cornelius and Barnaby how to dance so they are ready to embrace the class of New York, and as they get movement in their bones, a dance break ensues with the ensemble flooding the stage. LeProtto is at the center, sharing his unbelievable ability to jump and leap at great heights. The Waiters’ Gallop showcases the true talent of the ensemble as a whole with its sheer size and need for stamina as they move nonstop for a good three minutes. As the waiters prepare the Harmonia Gardens for dinner, they jump and move through the space, tossing trays, and towels, lifting heaping plates of food. Loquasto’s set features a grand staircase, and the dancers slide down the bannister, adding levels to Carlyle’s already larger-than-life piece.

Stand out numbers, striking design, and a sensational cast make this production of Hello, Dolly a non-stop night of fun.