28 August 2024 I 14:30 I The London Palladium
⭐⭐⭐⭐
If you have come across some of my previous reviews, you will understand that I cherish the classic musicals, with Hello, Dolly! first performed in the 1960s. Staged at the London Palladium this summer, this production has been lauded with great success. Every element is gigantic, from the stage to the score. Dominic Cooke delivers a legendary adaptation that will no doubt go down in theatrical history. The source material restricts it from fully soaring for me, a book that wields a confusingly strange (albeit delightful) development.
The story follows Dolly Levi, matchmaker extraordinaire as she seeks to unite the lonely citizens of Yonkers. Though after countless years of realising other people's dreams, it becomes Dolly's turn to find love following her late husband. The subject of her reverence is half-a-millionaire Horace Vandergelder, a friendless and pompous man, in order to spread his wealth for perpetual happiness. Not that Horace reciprocates the prospect of marriage...
Heading this production with exuberant charisma is Dame Imelda Staunton, boasting a gorgeous progression of confidence through Dolly. Her casting is conventionally older than tradition. However not previously aware of this, there is an impression of experience and modesty that comes with age. I couldn't imagine the character any other way. Leading the title number Hello, Dolly, Staunton truly beams with elegance, prompting a mid-show standing ovation from some in one of THE stage moment of the summer. She demonstrates immense assurance as Dolly refuses to tolerate Horace's stubbornness, though cautious of the scripting, it can be challenging to support her relationship with such a repulsively rude man.
Through this measured unlikability, Andy Nyman's Horace is convincingly unpleasant, however not inherently unlikeable as a core loneliness influences his actions. The character's tone is challenging to hit in a comedic setting, where Nyman's ability is nuanced but essential in finding a sympathetic balance.
A revival of gigantic proportions called for an epic live score, conducted by Nick Skilbeck. Overseeing the currently largest West End orchestra at 21 musicians, the Overture is nothing short of heavenly to begin the performance. We were seated front row of the stalls (owing to later release £20 tickets) of the legendary London Palladium, where the musicality of both the orchestra and impressively large cast knocks you back with such a theatrical feat, enough to send shivers!
Michael Stewart's book has some undoubtably hilarious moments, based on Wilder's earlier play The Matchmaker. With brawls in high-end restaurants, asides to late relatives and hysterical bursts of tears, Stewart's writing has the potential to confuse without clear direction. Upon reaching the interval, it hadn't felt as if much had happened, a slight sameness setting in. Despite this, Jerry Herman's music has many opportunities to excite, with Put On Your Sunday Clothes awakening the production's energy with a full company showstopper.
I heavily praise Jenna Russell’s performance as Irene Molloy, perfectly cast in the role to exude grace and decorum. Featuring in Irene’s milliner profession, Rae Smith's costume design is vividly exciting to the eyes. This level of vibrancy helps to reflect personalities, where flowing shapes are wonderous with movement. Bill Deamer succeeds in choreographing another monumental selection of dance work, delivering commanding work from an irresistible ensemble. The presence and connection shared between the cast resonates so strongly to the audience, with whole-cast numbers delivering audible bliss across the entire auditorium.
A travelator is present within Smith's staging, taking the action between locations and reinforcing the power of some conversations. The effect can feel overused, though the sensation of the effect remains magnificent.
The following day, we attended the London Palladium tour, an engaging hour with guide Saul Bache, delivering an engaging and performative history on the stars that have graced the venue's stage, as well as behind the scenes glimpses on the workings of Hello, Dolly!. Complete with cake post-tour, the time spent in this theatre has been extraordinary!
Going in with highly positive expectations, Hello, Dolly! exceeds the public buzz to present an unforgettable musical revival from Cooke. The book's unusually whimsical nature prevented me from finding my perfect match, however the London Palladium has staged a historically masterful production. Whether a lover of classical theatre or not, it would be extremely hard to leave the theatre without feeling enlivened and optimistic.
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