Review: Hello Dolly!

by Mike Matthaiakis

Imelda Staunton’s return to musical theatre in the revival of “Hello, Dolly!” at the London Palladium is nothing short of sensational. The production, delayed by the pandemic, finally graces the stage, and it was worth the wait. Dominic Cooke’s direction beautifully balances grandeur with heartfelt emotion, creating a show that is both visually and emotionally captivating.

From the very beginning, Staunton’s portrayal of Dolly Gallagher Levi is mesmerizing. We first see her hanging up a black dress, symbolizing the end of her mourning for her late husband Ephraim. This opening scene sets a poignant tone, grounding the story in themes of grief and renewal. As the set transforms into a bustling 1890s New York street, we are quickly swept into a world of vibrant color and life, a testament to the production’s seamless scene changes and stunning set design.

Staunton’s Dolly is a force of nature—witty, determined, and brimming with life. Her performance is reminiscent of her acclaimed role as Momma Rose, showcasing her incredible range and depth. In songs like “Just Leave Everything to Me,” Staunton’s vocal prowess and comedic timing shine, drawing the audience into Dolly’s world of matchmaking and meddling. Her portrayal is both humorous and deeply touching, capturing Dolly’s complex emotions and unwavering spirit.

The supporting cast is equally remarkable. Andy Nyman’s Horace Vandergelder is the perfect foil to Dolly, his smug demeanor gradually softening under her influence. Jenna Russell’s Irene Molloy brings a delightful mix of yearning and humor, especially in her duet with Emily Lane’s Minnie Fay. Harry Hepple and Tyrone Huntley, as Cornelius Hackl and Barnaby Tucker, provide excellent comic relief, their chemistry and exuberance lighting up the stage.

The musical numbers are standout moments in this production. “Before the Parade Passes By” is a literal showstopper, with Staunton leading a breathtaking parade that fills the stage with color and energy. However, it is the iconic “Hello, Dolly!” number that truly steals the show. Dolly’s grand entrance at the Harmonia Gardens restaurant, descending the staircase in a dazzling emerald gown, is a sight to behold. The ensemble’s energetic dance routines and the sheer joy of the scene brought the audience to their feet, encapsulating the magic of live theatre.

Rae Smith’s costume design deserves special mention, with each piece reflecting the elegance and charm of the era. From the twirling parasols in “Put On Your Sunday Clothes” to Dolly’s feathered ensemble, the costumes are a visual delight. Bill Deamer’s choreography is equally impressive, particularly in the scenes featuring the waiters at Harmonia Gardens, whose pirouettes and acrobatics add an extra layer of excitement to the performance.

Dominic Cooke, who has brilliantly directed the greatest Medea London has seen in years and achieved great success with Follies, has set exceptionally high expectations for this production, and we weren’t disappointed. Cooke’s direction also infuses the show with a subtle message about social equality. Through Dolly’s determination to redistribute Horace’s wealth, the production touches on themes of generosity and community, making it not just a feast for the eyes and ears but also food for thought.

In sum, this revival of “Hello, Dolly!” is an extraordinary achievement. Staunton’s performance is a masterclass in musical theatre, supported by a stellar cast and creative team. This production is not just a highlight of the summer; it is arguably the show of the year, offering a perfect blend of laughter, tears, and sheer spectacle. “Wow, wow, wow fellas”, Dolly sings at the end – wow, wow, wow indeed!

Until September 14 –  London Palladium