Dolly's back where she belongs
Hello Dolly is truly the quintessential American musical. Jerry Herman’s 1964 score enjoyed long runs in both the West End and on Broadway, was filmed for the big screen starring Barbra Streisand as Dolly, the title track was a chart hit for Louis Armstrong and the show has enjoyed countless revivals including a relatively recent run at Regent’s Park Open Air Theatre with Samantha Spiro in the lead role. Now it surfaces again at Leicester Curve as their seasonal show, directed by Paul Kerryson and with award-winning actress-singer Janie Dee, following the success of their last two classic American musicals The King and I (also with Dee) and last Christmas’ Dolly Levi is the local matchmaker who meddles in the lives of various townsfolk in Yonkers, a town north of The company that Kerryson has put together for his Dolly all tell their character stories clearly, and their individual songs are even more powerful as a result. Take Laura Pitt-Pulford’s Irene Molloy, for example. As soon as Pitt-Pulford enters the stage, a little while into act one, the character is completely developed straight away. The fact that Molloy is a milliner and a widow, who has lost the one true love of her life, is conveyed truthfully and movingly, and Pitt-Pulford manages the transition from a lady who was going to settle for financial security (in Vandergelder), until she meets Hackl, initially leading him on for fun before falling for his innocence and boyish charm. She sings her act one solo ‘Ribbons down your back’ with a sense of poignancy and fun, and having just missed her portrayal of Mabel in Jerry Herman’s cult musical Mack and Mabel at the Southwark Playhouse, I’ll be keeping a closer eye on Pitt-Pulford’s career from now on – and Ngo Ngofa’s Minnie Fay was a strong performance too. Michael Xavier’s Hackl is also fully realised – Xavier and Jason Denton’s Barnaby enter out of the stage floor (representing the shop basement) early in the piece, staging a minor explosion there in order to shut up shop and head to So what about Dee’s Dolly? Dee actually pulls off Dolly Levi surprisingly well, even if her singing voice isn’t as top notch as her acting at times. Rather than being a standout presence as Dolly, Dee injects the role with a strong likeability, allowing the comedy to be truthful, with sensitive comic timing. Making her entrance through the stalls, Dee’s Dolly tips a wink – and several asides – to the audience, giving various people her ‘card’ which states the many and various occupations she pretends to uphold in her ‘nothing’s impossible’ world. The audience root for her from the start and there’s a palpable sense of relief when Dolly finally gets the sign she needs ‘from my late husband Ephraim Levi’ to get married again.
Hello Dolly needs a big stage – and big staging – to be fully realised, and is truly at home on the Curve’s large stage. There is plenty of room at the back of the stage for the band, under musical director Ben Atkinson, which works especially well in the scenes in the Harmonia Gardens where the band play for the dance competition where Vandergelder’s young niece (Keisa Atwell) and her artist boyfriend (Simon Donovan) are strong contenders. Sara Perks’ costumes have lots of colour and style, also creating partially black and white sequences for the chorus too, and her set is quite minimalist, using the central staircase differently for different scenes or locations, prior to the classic title number sequence. A video design at the top of the back of the stage (designed by Arnim Friess) is occasionally overused but is a useful backdrop that emphasised different locations, creating an effective sense of movement in the railroad scene. Paul Kerryson’s confident direction of the piece ensures that the pace never drags and that the action is moved on quickly, and David Needham’s choreography is a real strength in the piece, and always sharp. In short, this is a razzle dazzle of a show with some of Jerry Herman’s best loved tunes, a book by Michael Stewart that, unlike many musical comedies of that era, hasn’t dated and is still very funny, and a well cast company. Hard to believe that it’s 16 years since Kerryson directed another Herman show, Mack and Mabel, in a joyous production that transferred from Leicester to London’s West End – Kerryson’s take on another Herman show, Mame, would surely be a must-see. In the meantime, Hello Dolly has been extended at the Curve by a week until 19 January, and I’m already looking forward to the prospect of next year’s seasonal show, whatever that might be.