Musical Theater Review: Hello, Dolly! features Bernadette Peters, and a breakout young star
Hello, Dolly!
Written by Michael Steward
Music and Lyrics by Jerry Herman
Original Production and Choreography by Gower Champion
Directed by Jerry Zaks
Starring Bernadette Peters, Gavin Creel, Kate Baldwin, and
Charlie Stemp
Every so often it is great to get away from edgy
off-Broadway fare and veer back onto the Great White Way for some old fashioned
musical theater. Hello, Dolly! is certainly
that, perhaps a bit dated even when it appeared in 1964, harkening back to the
1930’s for its inspiration. There’s only one famous song (the title song), but
features an attractive, well designed score that underlines the plot well. The plot
centers on Dolly Levi, a 1890s widow who makes her living matchmaking,
scamming, and turning every deal she can. She is an independent woman even
before the Women’s Movement of the 1970s, so is a very attractive character.
The show is a classic star-vehicle for luminaries like Carole Channing, Bette
Midler, and now Bernadette Peters, who replaced Ms. Midler a few months ago.
Both divas are in their early 70’s and are still theater empresses, but with
very different styles. Ms. Midler apparently played up the physical comedy
angle of the role, while Ms. Peters, veteran of Stephen Sondheim musicals,
plays a more well-rounded, versatile, and perhaps less glamorous lead.
This had both good and bad sides. The part is written for a scene-chewing, dominant Dolly, e.g. who enters in grandeur in Act 2 in red dress and feathers. Ms. Peters did not revel in this like Ms. Midler would. On the other hand, the part has some interesting complexity. Dolly Levi struggles as an independent woman, still yearns for companionship, yet, likes manipulating men. Peters was great at playing up these nuances, best in the Act 1 closer “Before the Parade Passes By”, an interesting closing number that she began almost introspectively, crescendo-ing to a big, crowd-pleasing finish. I loved Ms. Peter’s acting skills. Her characteristic vibrato has aged some, and there was a noticeable gravelly-ness to it not heard a decade ago. That said, I am in awe of her (and Ms. Midler’s) ability to carry off this big role in her eighth decade. I am not sure whether I would prefer this as a big over-the-top star turn (Midler) vs. a more nuanced character (Peters), but both have their place.
This had both good and bad sides. The part is written for a scene-chewing, dominant Dolly, e.g. who enters in grandeur in Act 2 in red dress and feathers. Ms. Peters did not revel in this like Ms. Midler would. On the other hand, the part has some interesting complexity. Dolly Levi struggles as an independent woman, still yearns for companionship, yet, likes manipulating men. Peters was great at playing up these nuances, best in the Act 1 closer “Before the Parade Passes By”, an interesting closing number that she began almost introspectively, crescendo-ing to a big, crowd-pleasing finish. I loved Ms. Peter’s acting skills. Her characteristic vibrato has aged some, and there was a noticeable gravelly-ness to it not heard a decade ago. That said, I am in awe of her (and Ms. Midler’s) ability to carry off this big role in her eighth decade. I am not sure whether I would prefer this as a big over-the-top star turn (Midler) vs. a more nuanced character (Peters), but both have their place.
The real star of the show was young (24 year old) Charlie Stemp,
new in the role of hapless teenager Barnaby Tucker, and fresh from a breakout
triumph in London in Half a Sixpence.
He was a remarkable, hyperkinetic triple threat on stage, equally accomplished in his teen-awkward comedy, his fresh tenor voice, and his spectacular dancing, fusing ballet, tap, and acrobatics. The choreographer apparently added new acrobatic choreography to the show just for him when he joined last month. This is a major talent, and he completely stole the show in a supporting role, including from his older sidekick Gavin Creel, who won a Tony for his featured role in the original cast, but was pallid by comparison to Mr. Stemp. You can see glimpses of his style here..check it out, watching for the amazing dance moves that catch you by surprise. A star is born on Broadway!
He was a remarkable, hyperkinetic triple threat on stage, equally accomplished in his teen-awkward comedy, his fresh tenor voice, and his spectacular dancing, fusing ballet, tap, and acrobatics. The choreographer apparently added new acrobatic choreography to the show just for him when he joined last month. This is a major talent, and he completely stole the show in a supporting role, including from his older sidekick Gavin Creel, who won a Tony for his featured role in the original cast, but was pallid by comparison to Mr. Stemp. You can see glimpses of his style here..check it out, watching for the amazing dance moves that catch you by surprise. A star is born on Broadway!
The sets and costumes were brilliant pastel colors, like an
onstage Easter egg, and the choreographer Warren Carlyle, updating the original
work of the brilliant Gower Champion, was creative, fun, and surprising.
The dancers/chorus was not your typical cloned young buff group, but a cool mix of short, tall, young, old and multiple skin colors, all dancing with great character and panache. The famous restaurant scene was particularly brilliant, with split second timing, comedy, entrances, and flying choreography mixed into a wild bundle. I had a lot of fun at this show. While it lacks the profundity of Sondheim, or the in-depth characters of Gypsy or Carousel, it is a fun and buoyant show nonetheless, and far preferable to the “socially meaningful” work typical of most recent musicals. Give me Hello Dolly! over Hamilton any time.
The dancers/chorus was not your typical cloned young buff group, but a cool mix of short, tall, young, old and multiple skin colors, all dancing with great character and panache. The famous restaurant scene was particularly brilliant, with split second timing, comedy, entrances, and flying choreography mixed into a wild bundle. I had a lot of fun at this show. While it lacks the profundity of Sondheim, or the in-depth characters of Gypsy or Carousel, it is a fun and buoyant show nonetheless, and far preferable to the “socially meaningful” work typical of most recent musicals. Give me Hello Dolly! over Hamilton any time.
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