Review: HELLO, DOLLY! at Lido 2

After presenting Cabaret and the lesser-known Forum last year, Jean-Luc Choplin made a strategic choice for his third in-house production at the Lido 2 Paris with Hello, Dolly!, a beloved Broadway classic that has been performed on Parisian stages multiple times. Surprisingly, many do not recall the 1972 adaptation at Théâtre Mogador with the iconic Annie Cordy, or the 1992 international tour at Théâtre de Châtelet featuring Nicole Croisille. This isn’t even the first time Dolly has been performed in English in Paris, and the show always registered with the French public. The title song also has a rich history in France, with memorable recordings by Petula Clark and Annie Cordy, each offering unique French versions, while the plot fits seamlessly into the French tradition of farce, locally known as vaudeville.

Interestingly, the recent London revival starring Imelda Staunton, directed by Dominic Cooke, leaned more on Thornton Wilder's original play, The Matchmaker, downplaying comedic elements. This approach sharply contrasts with the 2017 Broadway revival featuring Bette Midler, which fully embraced humor, including her memorable chicken-eating scene, a highlight unfortunately absent from the London and Paris productions.

Echoing Choplin's classic approach to Funny Girl at Théâtre Marigny in 2019, this production of Dolly stays faithful to the original, forgoing updates such as the restoration of cut songs, such as Horace Vandergelder's "Money in My Pocket" as an Act 2 opener, or the inclusion of the alternative Act 1 opening number, "Just Leave Everything to Me," from the movie, which was used in the recent London revival instead of "I Put My Hand in There." The result is a high-caliber production that proudly showcases its timeless charm, transporting audiences back to its 1964 roots and bound to please all the purist!

Caroline O'Connor, a familiar face in Paris thanks to productions of On the Town (2008) and Sweeney Todd (2011), where Stephen Sondheim himself hailed her as the best Mrs. Lovett, portrays Dolly Gallagher with effortless grace and determination. Her rendition of Jerry Herman’s exquisite score and Michael Stewart’s witty book is simply delightful, adding depth and nuance to the character.

Her on-stage chemistry with Peter Polycarpou as the funny and endearing Horace Vandergelder is very believable, as opposed to that of Streisand with Walter Matthau. Monique Young, recently seen as Charity in Barnum and in the Stephen Sondheim tribute Old Friends, brings elegance and vocal brilliance to Irene Molloy, captivating the audience. Carl Au delivers a convincing performance as Cornelius Hackl, particularly moving in his delivery of "It Only Takes a Moment," and Reece McGowan’s portrayal of Barnaby Tucker perfectly captures the role’s youthful innocence. The ensemble, including Chrissie Bhima as Minnie Fay, Jordan Crouch as Ambrose Kemper, and Jemima Eaton as Ermengarde, shines brightly, with each member adding a unique touch to the show.

Stephen Mear’s choreography, including the intricate tap dancing in "The Waiter's Gallop," reminiscent of his award-winning 2009 production at Regent’s Park, adds a personal touch of elegance, energy, and precision, showcasing the immense talent of the cast and reminding us of Michael Kidd's choreography for the movie version, which was the first to put dancing forward in Dolly.

The production is visually and audibly enchanting, with Peter McKintosh's stunning sets and costumes, Tim Mitchell's dazzling lighting, and Nigel Lilley’s vibrant musical direction, all contributing to a enchanting experience. Though Dolly is a cherished musical, this production breathes new life into it. The English-language version highlights the humor and wit of the script, delighting audiences of all ages. Iconic songs, including the title number "Hello, Dolly!" and "Before the Parade Passes By," are performed with passion and precision, despite a lack of spectacular sets like in the Broadway revival.

A must-see for Broadway enthusiasts at the Lido 2, this Dolly transports us into the bygone era of the golden age of classic musical theater and its ability to uplift and inspire, taking us away from the grim realities of our troubled times.

Not to be missed until at least the beginning of January in English with French subtitles.

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