Well, well, hello, Imelda! Delayed four years, this lavish, heartfelt revival of Hello, Dolly! more than handsomely rewards its patient, grateful audience.
Produced on a grand scale that completely belies its ten week season at the London Palladium, this new staging deftly balances fantastical opulence and grounded realism. A terrific star vehicle for Imelda Staunton, Hello, Dolly! complements its leading lady’s magnetic power with a mighty cast of 36 performers and a generous orchestra of 21 musicians.
Director Dominic Cooke insightfully highlights the trepidation and joy of Dolly’s welcome return to society. A brief prologue sees Dolly carefully putting away her black dress, her year of mourning for her late husband Ephraim Levi now over. Offsetting the focus on financial security, the cut song “Love, Look in My Mind” is reinstated, this time in act two for a pensive moment as Dolly prepares to go back to Harmonia Gardens.
In other musical changes, the opening is a mash up of musical numbers “Call On Dolly” and “I Put My Hand In” plus movie opener “Just Leave Everything to Me.” As with the 2017 revival, Horace opens act two with “Penny in My Pocket,” which progresses this time from the front of the curtain to Horace’s hotel room and on to his journey to the restaurant.
Nicholas Skilbeck’s new arrangements include a longer dance break for “Dancing” and an all-new version of “The Waiter’s Gallop.”
Rae Smith’s set design creates an ongoing sense of movement with its mid-stage travelator and full back wall showcasing Finn Ross’ ever dynamic video design. The vast stage of the London Palladium looks wonderful when filled with dancing ensemble members but during book scenes, the stage is so wide that characters in conversation rarely stand anywhere near each other.
Smith’s costume design strikes a balance between splashes of lush colour and earthy naturalism. The male customers at Vandergelder’s Hay and Feed look to be straight off a ranch whereas “Put On Your Sunday Clothes” fills the stage with gorgeous colour.
A lovely design concept is seen in the extended dance break of “Dancing.” Leaving the millinery store, the background melts away and the performers are dancing up amongst the misty heavens.
Smith’s creation of Harmonia Gardens conjures old world glamour with decadent curved staircase and waiters in dark burgundy velvet tails. Distinguishing the design from previous versions, Smith dispenses with red on red, having Dolly descend a gold staircase wearing an emerald shot silk gown.
A riot of colour ensues in the epilogue, now specifically set two months later. Three couples happily tie the knot in a lavish summertime wedding (in which Dolly now finally wears a red dress).
Compared to a good many golden age musicals, less work is needed to make the work palatable to modern day sensibilities. Some colour blind casting is used, and the end of “It Takes A Woman,” sees the wives enter to hen peck their husbands out of their store and back to their duties.
Staunton anchors the show with ready charisma and cheerful confidence, displaying a lovely singing voice throughout her numbers. Playing it straight, Staunton nails all the comedy, deepening the impact of the storytelling by also bringing touching vulnerability. Staunton may not be said to have invented stairs but her rendition of the melancholic verses of “Hello, Dolly!” is an absolute revelation.
Andy Nyman allows a very gentle undercurrent of warmth to Horace, making him an appealing catch and ensuring that the money-related “sign” to Dolly does not come completely out of the blue.
London stage royalty, Jenna Russell plays Irene Molloy as a bit of a prickly pear, delightfully warming to Cornelius as the evening progresses. It is not clear why Minnie Fay is dressed and coiffured like a timid librarian but Emily Lane nonetheless brings a pleasant air to the role.
A strong leading man, Harry Hepple makes for a charming Cornelius Hackl. Tyrone Huntley amuses as a suitably innocent Barnaby Tucker.
The perfect meeting of star and material, Hello, Dolly! is a memorable once-in-a-blue-moon treat.
Hello, Dolly! was reviewed 7.30pm Tuesday 30 July 2024 at The London Palladium where it plays until 14 September 2024. For tickets, click here.
Photos: Manuel Harlan