Review: Hello, Dolly! (London Palladium)

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Review by Daz Gale

In an exciting year for new musicals, there are certain shows opening that have been among the most anticipated for some time - but then there are those select shows we have been waiting a lot longer for. Step forward Hello, Dolly which was originally due to thrill West End audiences in 2020 before becoming a victim to the pandemic. Lead star Imelda Staunton’s royally busy schedule meant we had to wait a while to see this eagerly anticipated revival but now, four years later than planned, it is time to put on your Sunday clothes (or Thursday clothes in my case) and finally say hello, Dolly!

Premiering on Broadway in 1964 and in the West End the following year, Hello, Dolly! has remained a classic for musical lovers in the decades since with multiple revivals including 2017’s acclaimed Broadway production starring Bette Midler, though it may be best remembered for the 1969 film adaptation featuring Barbra Streisand’s legendary performance. It sees socialite turned matchmaker Dolly Levi travel to New York in an attempt to find a match for Horace Vandergelder. However, she has a change of plans when she decides the next match she needs to make is for herself.

The essence of Hello, Dolly! feels like a time capsule in itself. Michael Stewart’s book and Jerry Herman’s music and lyrics remain glorious to this day, packing a punch whether this is your first time in Dolly’s world or if you have seen past productions. Stewart’s joyous and instantly accessible book takes a fairly light plot and turns up the feelgood factor to full swing, delivering what theatre can do at its best and that is pure escapism. It feels impossible to not smile throughout this show, for all its sequences and delight in a story rooted in love. I certainly found myself with one glued on to my face throughout.

Chiefly responsible for bringing this classic story up to date is Dominic Cooke’s flawless and inspired direction, Though it may not have been the stage the production was already planned for, the legendary stage of the London Palladium feels fitting for a show such as this, playfully transforming it into and delivering some big sequences. Cooke’s direction is perfectly in sync with Bill Deamer’s sensational choreography, ensuring the big numbers in the show are the showstoppers they deserve to be – and they’re never in short supply..’Put On Your Sunday Clothes’ and ‘Before The Parade Passes By’ are undoubted standouts, but it is the title number ‘Hello, Dolly!’ that gets the biggest response of the night with its slow build-up to an explosive finale leaving every member of the audience echoing Dolly’s cries of “wow wow wow” in one of the all-time great musical numbers, meticulously staged to jaw-dropping effect.

Visually, Hello, Dolly! Is an absolute treat. Clever set designs transform the stage into pure opulence in the second act while allowing grown adults to regain their sense of childlike wonder, from the simple yet satisfying appearance of a train. Rae Smith ensures the aesthetic of the show is always stimulating, from her set design to the stunning costumes adorned by the cast. Jon Clark ensures the show is always beautifully lit, with an exceptional use of video design from Finn Ross creating lifelike backgrounds. Jerry Herman’s timeless songs are beautifully realised by a striking orchestra, allowing the show to sound every bit as harmonious as it looks.

The big draw for this particular production of Hello, Dolly! Has always been Imelda Staunton in the lead role of Dolly Levi. An acclaimed actress of both stage and screen, she has proved time and time again what a formidable talent she is – and here is no exception. Staunton gets to showcase all of her many talents, delivering a meticulous characterisation of Dolly that heightens her comedic moments while always leaving a tinge of emotion in a performance that always has its heart front and centre. The versatility in her vocals is another impressive factor, with a more restrained, sensitive approach to numbers such as tender highlight ‘Look, Love In My Window’ to the powerhouse moments of ‘Before The Parade Passes By’ showing what an incredible performer she is. While she has had some impressive credits before, this may be a new career high for an already remarkable performer.

While Dolly may have her name in the title, the stage time feels fairly evenly spread for the primary characters in a show that demands an ensemble cast. In that respect, they each more than rise to the occasion, matching the impossibly high bar set by Staunton’s lead performance. Andy Nyman is the perfect sparring partner for Dolly in his fantastic turn as Horace Vandergelder. From the extreme ways he interacts with his fellow cast members to even addressing the audience at times, he delivers a captivating performance that consistently charms despite the character’s flaws. Jenna Russell is a standout as Irene Molloy, delivering one of the musical highlights of the night with a note-perfect rendition of ‘Ribbons Down My Back’. Tyrone Huntley and Harry Hepple make a fabulous double act as Barnaby Tucker and Cornelius Hackl, lighting up the stage with their every appearance, while Emily Lane makes the most of a comparatively small character in Minnie Fay to make her presence felt.

This is a production where the ensemble are all deserving of a mention, delivering Bill Deamer's choreography with precision that ensures the showstoppers come thick and fast. This is mostly felt through the rip-roaring waiters sequences, beginning with the joyous and impressively staged 'Waiters Gallop' into their integral part of title number 'Hello, Dolly!' Their part in the success of this production should not be estimated, ensuring the overall calibre of the cast never waivers at any point during the show.

Bringing a classic show like Hello, Dolly! back to the stage after some time comes with no shortage of challenges. How do you live up to a show’s legacy, appealing to the nostalgia of those who fell in love with the show before while daring to bring something new to the table though never at the risk of compromising the material? After a postponed initial run means members of the audience have been waiting longer than any other show to see this and the pressure is certainly on. This production can be used as the gold standard in how to do this to the best of its abilities.

Theatre is a powerful beast with an incredibly good show having the ability to transport you to another place and time entirely, almost like an out-of-body experience. Its ability to allow you to forget your problems and troubles in the world is second to none. This is the sensation I had with Hello, Dolly! If someone were to ask me what it is about theatre I love so much, I would take them to see this production. Everything about it from the direction to the choreography to the design to the music to the performances was nothing short of perfection. When I say this production encapsulates “Theatre” and all it should be. I’m not convinced I’m articulating myself eloquently enough, but that is the raw truth of how I felt during the performance and upon leaving the theatre. This is one case where every element came together beautifully to create pure theatre magic and the result is one of the best shows of the year. It may have taken a while for Hello, Dolly! to return to the stage, but seeing this had me wishing Dolly would never go away again.

Hello, Dolly! Plays at the London Palladium until 14th September.

Tickets

Photos by Manuel Harlan